modern 

tetter 

Engraving. 

Rm. 


BLVM 


ENTH 


MODERN 


LETTER  ENGRAVING 


IN  THEORY  AND  PRACTICE. 


A  MANUAL  EORTHC 

USE  Or  WATCHMAKERS,  JEWELERS  AND  OTHER 
METAL  ENGRAVERS. 


BY 

TRED  HOLMES  PEES 


ILLUSTRTTED  WITH  NUMEROUS  ETCHINGS  DV  THE  fillTIIOP. 


CHICAGO: 
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yet 
PREFACE. 


Cognizant  of  the  fact  there  are  many  young  men 
desirous  of  learning  the  art  of  letter  engraving,  who 
are  unable  to  take  a  course  of  instructions  under  an 
instructor,  and  that  there  are  many  doing  engraving 
by  laboring  under  perplexing  and  discouraging  dis- 
advantages, and  are  unaware  of  it  to  some  extent, 
owing  to  the  lack  of  rudimentary  and  technical  train- 
ing and  knowledge  of  the  art,  while  if  they  had  the 
advantages  of  being  correctly  informed  and  started 
in  the  right  way,  they  would  find  the  work  an  art 
and  pleasant  study. 

For  such  reasons  I  was  prompted  to  write  this  book. 

THE  AUTHOR. 


MODERN  LETTER  ENGRAVING  IN  THEORY 
AND  PRACTICE. 


CHAPTER  I. 

Engraving  as  has  well  been  said,  is  one  of  the  most 
beautiful  arts  in  existence,  and  there  has  been  no  time 
in  its  history  for  better  opportunity  to  exemplify  its 
beauty  than  during  the  past  few  years,  in  view  of  the 
fact  of  there  having  been  so  many  novelties  made  and 
sold  which  are  expressly  designed  to  be  engraved. 
The  demand  for  engraving  has  increased  so  rapidly  that 
it  is  impossible  for  jewelers  to  engrave  the  goods  they 
sell  during  the  busy  seasons. 

At  this  day  and  age,  with  the  advancement  in  the  art, 
it  is  necessary  for  those  who  would  be  successful,  to  be 
proficient  and  thorough.  Proficiency  is  obtained  only  by 
persistent  and  studious  work,  by  which  the  masters  of 
the  art  have  succeeded. 

It  is  within  the  scope  of  any  energetic  young  man's 
talents  to  become  a  good  engraver  without  apprenticing 
himself  to  any  regular  instructor;  however,  the  writer 
would  recommend  all  students  to  both  study  books  of 
instruction  and  spend  as  much  time  with  a  capable 
instructor  as  possible. 

It  is  the  object  of  this  work  to  place  before  the  stu- 
dent clearly  and  concisely  as  possible  the  best  method 
of  procedure,  commencing  at  the  foundation  of,  the  art 
and  carefully  considering  each  and  every  important 


4  MODERN  LETTER  ENGRAVING 

point  connected  with  it,  to  its  highest  degree,  avoiding 
misleading  technicalities. 

We  first  must  learn  what  tools  to  use  and  how  to  use 
them,  and  the  correct  formation  of  letters,  and  how  to 
cut  them. 

The  student  should  supply  himself  with  a  text  book, 
of  different  styles  of  letters  and  with  a  No.  3  hard  pencil, 
and  copy  the  script  letters  on  paper  until  he  can  make 
them  equivalent  in  form  to  the  copy.  It  is  obvious  that 
we  first  learn  to  design  the  letters  before  any  considera- 
tion of  engraving  them. 

Zinc  made  into  3x4  inch  sheets,  is  a  good,  cheap 
metal  for  the  student  to  practice  on,  but  as  silver 
plates  are  much  better  and  can  be  made  cheaply,  I  would 
recommend  them.  Britannia  metal  plates  can  also  be 
made  by  any  silver  plate  manufacturer  for  forty  cents 
per  pound  as  the  metal  comes  from  the  rolls,  which  is  in 
good  enough  condition  for  engraving,  and  can  be  made 
any  size  and  rolled  to  any  desired  thickness. 

The  next  necessary  thing  is  the  graver,  a  sand  bag 
pad  upon  which  to  hold  the  article  to  be  engraved,  and 
a  rule;  a  thin  one  of  celluloid  or  any  flexible  material 
about  six  inches  long  is  the  best  style  to  use  for  plate 
work,  and  is  also  very  useful  on  oval  surfaces. 

The  best  style  of  graver  for  the  beginner  to  use  is 
shown  at  Fig.  i,  which  is  a  square  graver,  fitted  to  han- 
dle; gravers  are  purchased  separate  from  handles,  and 
are  tapering  at  the  end  that  is  intended  to  go  into  the 
handle 

The  selection  of  gravers  is  a  very  important  item. 
After  fitting  the  graver  in  handle,  we  break  it  off  so  as 
to  leave  it,  including  handle,  not  less  than  4^  inches 
long. 


IN    THEORY    AND    PRACTICE.  5 

In  putting  the  blade  in  the  handle,  it  should  be  so 
the  maximum  width  of  the  graver  is  at  the  end  of  the 
handle,  thus  leaving  the  entire  taper  in  the  handle,  which 
will  give  the  graver  the  greatest  strength  at  that  point 
where  it  is  most  needed. 

The  graver  should  be  so  placed  in  the  handle  as  to 
appear  as  shown  at  Fig.  i,  and  ground  off  on  the  end 
at  an  angle  of  45  degrees,  end  view  of  which  is  shown 
at  Fig.  2,  when  graver  is  laid  flat  as  shown  at  Fig.  I 


Fia.3 

«/     J. 


After  breaking  the  graver  off  the  desired  length  and 
grinding  or  whetting  the  end  to  an  angle  of  45  degrees, 
we  then  grind  the  under  sides  E,  Fig  2,  back  about  half 
an  inch  and  on  an  angle  as  shown  at  Fig.  6. 

The  object  in  grinding  the  graver  off  in  the  manner 
above  described,  is  to  give  a  more  convenient  cutting 
angle,  and  enable  us  to  hold  the  graver  gracefully  in 
our  hand  while  executing  the  work. 

The  necessity  of  sharpening  the  graver  as  above 
described  will  be  thoroughly  understood  by  inspecting 


6  MODERN  LETTER  ENGRAVING 

Fig.  5,  which  shows  the  correct  position  to  hold  the 
graver.  The  graver  is  held  between  the  thumb  and 
index  finger,  with  the  back  of  the  handle  D,  Fig.  i, 
placed  in  the  palm  of  the  hand,  with  the  second  finger 
around  the  right  side  of  the  blade,  and  the  third  and 
fourth  or  little  finger  on  the  flat  side  of  the  graver  han- 
dle H,  Fig.  i.  It  will  be  plainly  seen  that  a  graver  held 
in  this  position,  gives  the  operator  perfect  control  of  the 
tool. 

If  the  graver  were  not  ground  on  the  under  side  as 
described,  there  would  not  be  ample  room  for  the  opera- 
tor's fingers  between  the  plate  and  the  handle. 

Having  ground  the  graver  off  on  the  under  sides  as 
above  mentioned  (the  grinding  is  done  on  a  grind 
stone  or  emery  wheel)  we  next  whet  it  on  the  under 
sides  on  a  fine  oil  stone  to  remove  the  coarse  scratches, 
left  by  the  grinding  process.  To  do  this,  place  the 
index  finger  on  the  opposite  or  top  side  from  the  one  to 
be  whetted,  pressing  it  down  on  the  stone  and  merely 
steadying  it  with  the  thumb  and  second  finger  placed 
where  the  graver  enters  the  handle  and  pushing  it  back- 
ward and  forward,  not  from  right  to  left. 

Whetting  the  graver  on  the  end,  it  is  held  in  posi- 
tion as  shown  at  Fig.  3,  and  moved  from  right  to 
left  on  a  straight  line  as  shown  at  Fig.  4,  which 
is  a  view  of  graver  on  stone  looking  in  direction  of 
arrow  c  Fig.  3.  Great  care  should  be  used  to  whet 
the  graver  as  above  described,  as  if  it  is  not  moved 
on  a  line  as  mentioned,  it  is  impossible  to  get  the  end 
flat.  Should  the  graver  be  moved  in  a  circular  direc- 
tion, which  is  the  most  natural  and  easy  way,  it  would 
be  rounding  on  the  end,  a  thing  most  necessary  to 
obviate. 


CHAPTER  II. 

If  you  will  now  examine  the  cutting  edges  of  the 
graver  with  an  eye  glass  you  will  see  a  burr  which  must 
be  removed;  to  do  this,  jab  the  graver  in  the  end  of  a 
block  of  hard  wood,  which  the  pupil  should  have  on  his 
bench  tor  this  purpose. 

The  graver  is  now  in  order  for  cutting  where  a 
bright  cut  is  not  required,  such  as  monograms  on 
polished  cases  and  watch  caps.  It  is  difficult  to  cut 
with  the  graver  in  this  condition  and  at  the  same  time 
the  tool  is  sharper  than  it  will  be  after  it  has  been 
polished,  but  the  effect  of  work  cut  with  a  graver  as 
it  comes  from  the  stone  is  most  beautiful,  owing  to  the 
contrast  between  engraving  and  surface  of  article 
engraved.  The  cause  of  this  effect  will  be  well  under- 
stood if  you  examine  the  cutting  edges  of  your  graver 
with  a  glass.  This  examination  will  reveal  the  fact  that 
the  edges  referred  to  are  like  saw  teeth  or  cutting  edge 
of  lining  graver,  caused  by  the  scratches  left  by  the  oil 
stone. 

If  we  have  in  hand  a  piece  of  work  that  we  want  to 
cut  bright  these  scratches  must  be  removed;  the  opera- 
tion is  generally  understood  by  the  student  to  be  only 
polishing  the  undersides  of  graver,  and  he  is  apt  to 
labor  under  the  impression,  if  the  graver  in  this  par- 
ticular part  is  polished,  that  is  all  that  is  required.  This 
is  an  erroneous  idea.  We  want  to  do  as  little  polishing 
as  possible,  as  the  more  polishing  there  is  done  just  so 
much  we  destroy  the  sharp  cutting  edge  and  make 
the  graver  rounding.  The  graver  should  never  be  pol- 
ished on  the  end. 


8  MODERN  LETTER  ENGRAVING 

To  prove  to  the  student  that  it  is  not  necessary  to  polish 
the  graver  as  above  mentioned,  I  would  state  that  many 
engravers  polish  their  gravers  on  oil  stones,  the  fact  that 
it  can  be  easily  done  will  be  thoroughly  understood  by 
subsequent  instructions. 

At  D,  Fig.  9,  is  shown  a  magnified  view  of  the  under 
or  cutting  side  of  a  graver,  as  it  comes  from  the  oil 
stone,  showing  the  lines  previously  referred  to.  It  is 
obviously  plain  to  any  comprehensive  mind  that  if  we 
should  draw  the  graver  back  from  the  point  in  the 
direction  of  the  lines  of  Fig.  9  it  would  require  much 
more  polishing  to  remove  the  coarse  scratches,  than  it 
would  if  we  should  place  the  graver  on  our  emery 
block,  which  will  be  explained  subsequently,  in  position 
shown  at  Fig.  8,  which  shows  the  graver  in  position  for 
polishing  the  right  underside.  An  appearance  of  graver 
after  thus  treated  is  shown  at  Fig.  7  which  shows  the 
lines  left  by  emery  block,  but  owing  to  the  direction  in 
which  they  run  they  do  not  cause  any  saw  teeth  appear- 
ance or  rough  edge. 

It  is  well  understood  that  all  polishing  materials  con- 
tain particles  that  will  scratch,  even  though  they  are  so 
fine  that  we  cannot  detect  them  with  the  naked  eye; 
this  being  the  case  it  is  plainly  seen  that  if  we  do  use 
fine  polishing  materials  when  polishing  the  graver,  it 
would  be  impossible  to  put  the  graver  in  order  for  bright 
cutting  by  moving  it  or  drawing  it  on  the  polishing 
block  in  direction  of  the  lines  at  Fig.  9. 

My  object  in  dwelling  so  long  on  this  subject  is  that 
there  are  so  many  engravers  that  have  a  wrong  idea  of 
this  important  part  of  their  work,  and  such  are  to-day 
laboring  under  false  impressions  greatly  to  their  disad- 
vantage. I  therefore  wish  to  impress  upon  the  student's 


IN   THEORY    AND    PRACTICE.  9 

mind  the  importance  of  correctly  putting  the  graver  in 
order,  which  is  an  easy  matter  if  one  understands  the 
correct  manner  of  procedure. 

What  we  want  is  a  sharp-cutting  edge,  perfectly  flat 
on  under  side,  and  on  the  end.  A  tool  in  this  condition 
will  not  slip  unless  in  the  hands  of  a  very  unskillful 
operator. 

To  make  the  emery  block  above  referred  to  (it  is  best 

PLATE.  Si 


to  make  two,  as  with  the  second  we  can  finish  the  first, 
and  it  requires  a  very  little  more  time  to  make  two),  get 
a  piece  of  hard  wood  four  inches  long  and  one  inch 
square,  finished  flat  on  all  sides;  now  take  a  piece  of 
oooo  emery  paper  (which  you  can  get  at  any  material 
house),  coat  the  back  or  paper  side  with  mucilage,  treat- 
ing one  side  of  the  block  in  the  same  manner.  Allow  it 
to  stand  two  or  three  minutes,  then  place  the  paper  on 


IO  MODERN  LETTER  ENGRAVING 

the  block,  turning  the  side  that  you  have  put  the  paper 
on  down  on  some  flat  surface,  and  place  a  weight  on  the 
block,  allowing  it  to  remain  until  it  is  thoroughly  dry, 
then  saw  the  block  in  two  in  center,  and  you  will  have 
two  blocks  two  inches  long;  you  will  notice  by  close 
examination  that  the  paper  is  not  perfectly  flat;  as  all 
polishing  blocks  should  be  flat,  we  now  rub  the  two 
blocks  together,  which  will  smooth  them  down  dead  flat. 
Now  carefully  trim  the  edges  off,  should  any  paper 
extend  over  the  edges  of  the  block,  and  you  now  have 
two  of  the  best  polishing  blocks  obtainable.  I  use  and 
recommend  this  style  of  block  as  it  is  as  fine  as  required 
to  polish  the  graver,  is  convenient,  durable,  and  will  do 
the  work  quicker  than  any  other  that  has  come  to  my 
notice. 

To  polish  the  graver  on  the  emery  block  above  men- 
tioned and  described,  place  the  tool  on  the  block  in  posi- 
tion as  shown  at  Fig.  8,  where  E  represents  the  block 
and  F  the  graver;  place  the  index  finger  on  the  graver, 
very  near  the  end,  with  thumb  on  left  and  under  side, 
with  the  second  and  third  finger  on  the  right  of  graver 
to  steady  it.  The  position  of  thumb  as  mentioned  will 
permit  its  use  as  a  guide  for  moving  the  cutting  edge  of 
graver  to  be  polished  on  a  line  with  the  edge  of  block, 
which  line  is  shown  at  H  H,  Fig.  8.  The  graver  must  be 
moved  in  this  direction  to  get  a  perfect  polish.  If  the 
graver  is  held  in  the  position  and  moved  in  the  direction 
mentioned,  it  will  not  be  necessary  to  draw  it  on  the 
block  more  than  an  inch;  should  you  find,  however,  that 
the  graver  will  not  cut  a  perfectly  bright  cut,  repeat  the 
operation. 

Assuming  that  the  student  has  strictly  followed  the 
instructions  given,  we  now  have  our  graver  in  perfect 


IN   THEORY    AND    PRACTICE.  II 

order  for  cutting  the  connecting  exercises  and  script 
lettering;  and  I  wish  to  state  at  this  time  that  there  is  no 
style  of  lettering  more  beautiful,  or  any  that  will  give 
more  general  satisfaction  than  script  letters  when  per- 
fectly cut,  and  I  trust  that  those  who  follow  these 
instructions  will  master  this  style  before  any  attempt  is 
made  to  engrave  other  or  more  fancy  letters.  Before 
we  consider  the  art  of  cutting  the  exercises  or  letters,  we 
must  first  master  the  art  of  designing,  a  part  of  the 
engraver's  work  most  essential  to  his  success.  Design- 
ing is  not  drawing  letters  as  one  would  write,  but  is  done 
by  holding  the  pencil  or  designing  point  in  the  hand  as 
you  would  when  writing,  and  is  done  by  making  broken 
lines,  as  shown  at  Fig.  10.  The  object  in  making  all 
designs  in  this  manner  is  that  by  so  doing  we  can  easily 
correct  our  work  as  we  advance.  For  illustration, 
if  in  making  the  "line  of  beauty,"  .as  shown  at  Fig. 
10,  we  should  notice  that  we  were  not  making  it  as 
desired,  we  can  easily  change  our  course,  as  we  only 
make  or  design  a  part  of  the  letter  at  each  stroke, 
and  that  portion  where  we  have  made  the  error  can 
easily  be  detected  and  corrected.  Designing  should 
be  done  as  lightly  as  possible;  heavy  or  too  much 
designing  has  a  tendency  to  confuse  the  engraver. 
We  are  not  supposed  to  make  the  letters  perfect  in 
detail  by  designing. 

Only  make  the  outlines  as  described  by  making  the 
broken  lines  to  guide  the  eye  when  engraving,  but  the 
outlines  thus  made  must  be  made  correct  in  form,  angle, 
and  size  or  height. 


CHAPTER  III. 

The  young  men  of  today  are  so  anxious  to  reach  the 
summit  of  the  profession  they  may  decide  to  follow,  that 
many  rush  forward  in  such  haste  to  reach  the  top  round 
of  the  ladder  to  success,  that  they  step  over  many  of  the 
lower  ones,  and  in  this  over  estimation  of  their  ability 
they  fail  to  grasp  the  elevation  desired,  and  having  failed 
to  place  the  lower  rounds  firmly  they  fall  back  into  the 
overcrowded  population  of  failure's  domain. 

If  your  ambition  does  not  dictate  anything  higher  than 
that  of  a  botch,  do  not  spend  any  time  trying  to  learn 
this  beautiful  art.  The  student  who  will  succeed  is  one 
who  will  thoroughly  master  all  the  fundamental  princi- 
ples of  each  and  every  style  of  lettering  and  all  the 
auxiliaries  connected  with  their  formation  and  execution. 
Do  not  think,  dear  reader,  that  all  that  is  required  is  the 
necessary  tools,  a  lesson  or  two,  and  you  are  finished. 
It  "takes  but  little  more  time,  and  the  careful  considera- 
tion of  details  to  learn  anything  well,  especially  the  art 
of  engraving,  and  it  is  impossible  to  succeed,  in  even  the 
plain  work,  if  you  do  not  first  study  with  care  the  pre- 
liminaries. 

The  student  may  think  that  the  exercises  on  Plate  3 
are  not  necessary,  or  are  only  for  children.  Not  so. 
The  popular  fallacy  of  first  commencing  td  engrave 
script  letters  is  a  great  mistake;  while  it  is  true  that  this 
style,  or  Roman,  is  the  first  that  we  learn  to  engrave, 
they  are  not  the  first  lessons  in  engraving. 

Script  engraving  is  difficult  if  properly  executed, 
therefore  we  must  first  practice  some  of  the  lines  and 
strokes  embodied  in  this  style,  and  having  mastered 


IN   THEORY    AND    PRACTICE.  13 

them,  which  requires  but  little  time,  we  can  much  more 
rapidly  launch  out  into  the  mastery  of  script  engraving 
Having  endeavored  to  demonstrate  the  error  of  getting 
too  ambitious  to  reach  the  top,  and  judging  the  reader's 
conception  adequate  to  the  obvious  reasons  mentioned, 
we  will  now  commence  the  exercises  referred  to. 

To  design  the  exercises  to  be  engraved  on  metal  we 
must  first  paint  the  metal  with  some  material  on  which 
we  can  design  with  a  pencil,  except  polished  articles, 
which  we  will  consider  as  we  progress.  To  design  on 


articles  not  polished,  like  those  that  have  a  satin  or  dead 
finish,  about  the  best  thing  to  use  is  Chinese  White,  a 
snow  white  paint  that  will  dry  instantaneously.  The 
Chinese  White  you  can  buy  at  any  art  store  and  comes 
in  bricks  at  10  cents  each  or  in  bottles  at  25  cents  each; 
the  latter  is  the  best  way  to  buy  it,  as  by  keeping  it  in 
the  bottle  it  is  free  from  dust.  With  a  point  of  a  knife 
take  a  small  quantity  of  the  paint  and  place  on  the  arti- 
cle to  be  engraved.  Now  wet  your  finger  and  rub  the 
paint  over  the  article;  a  very  thin  coating  is  all  that  is 
required.  As  above  stated,  the  paint  will  dry  instantly, 


14  MODERN  LETTER  ENGRAVING 

and  will  not  in  any  way  injure  the  point  of  your  graver. 
Now  carefully  design  the  exercises  to  be  engraved,  as 
shown  on  Plate  3. 

Having  first  practiced  the  designing  on  paper  until 
you  are  proficient  in  that  regard,  you  will  find  it  just  as 
easy  to  design  on  the  metal,  when  painted  as  described. 

Holding  the  graver  in  your  hand,  as  previously  men- 
tioned, commence  cutting  the  lines  as  shown  at  Fig.  i, 
Plate  3,  holding  the  graver  so  the  flat  part  of  the  handle 
is  flat  with  the  plate,  and  the  point  of  the  graver  will 
then  be  parallel  with  plate;  the  graver  held  in  this  position 
will  cut  a  very  fine  line,  known  in  the  trade  as  a  hair  line. 
Place  the  point  of  the  graver  at  the  end  of  the  first  line, 
commencing  at  the  lower  end,  pushing  the  graver  for- 
ward, holding  the  tool  firmly  in  your  hand  so  the  line 
will  be  cut  the  same  depth  from  point  of  commencement 
to  the  end.  The  plate  is  held  on  a  pad  with  the  left  hand, 
and  is  cemented  on  a  small  thin  piece  of  wood;  a  cover 
to  a  cigar  box  will  answer  very  well.  If  the  plate  we 
are  to  engrave  is  more  than  two  inches  square  it  can  be 
tacked  to  the  wood  with  very  small  tacks  or  pins,  instead 
of  cementing.  In  cutting  the^  hair  lines  just  mentioned, 
beginners  usually  start  with  a  fine  line  and  wind  up  with 
a  line  three  times  as  wide  and  as  deep ;  this  is  the  point  we 
wish  to  overcome.  As  formerly  stated,  the  lines  must 
be  the  same  from  beginning  to  end,  and  cut  clean,  push- 
ing the  graver  forward  in  the  direction  of  the  arrows. 
Now  cut  the  next  line,  and  be  very  sure  it  is  cut  in  every 
respect  the  same  as  the  first. 

Be  extremely  cautious  that  you  are  cutting  it  on  the 
same  angle,  and  when  the  point  of  the  graver  has 
arrived  at  the  end  of  the  line  raise  the  hand  a  very  little, 
at  the  same  time  lifting  up  on  the  graver  and  pushing 


IN    THEORY    AND    PRACTICE.  1 5 

the  same  forward,  which  will  break  off  the  chip  in  front 
of  the  tool,  and  throw  out  the  graver.  A  little  practice 
will  enable  the  student  to  throw  the  graver  out  in  this 
way  very  easily  and  not -leave  any  burr  at  the  end  of  the 
line,  a  thing  prevalent  with  the  beginner,  but  quickly 
obviated  with  practice.  Beginning  the  second  line  at 
the  bottom  and  cutting  from  the  right  to  the  left,  the 
operator  will  have  the  first  line  between  himself  and  the 
graver  point,  thus  enabling  him  to  use  it  as  a  guide; 
using  the  first  line  for  this  purpose,  and  assuming  the 
same  to  have  been  cut  accurately,  keeping  the  same 
distance  from  the  preceding  line  from  end  to  end,  you 
are  now  in  position  to  cut  the  balance  in  like  manner. 
Practice  these  lines  until  you  can  cut  them  nicely,  avoid- 
ing all  errors  outlined  above,  after  which  design  and 
engrave  the  lines,  at  Fig.  2,  avoiding  as  far  as  possible 
the  errors  as  mentioned  in  connection  with  cutting  the 
lines  at  Fig.  i.  The  point  to  gain  in  cutting  the  lines  at 
Fig.  2  is  to  so  cut  them  as  to  meet  perfectly  in  the 
center,  where  the  two  lines  come  together;  this  accom- 
plishment will  be  of  much  value  to  the  student,  as  will 
be  noticed  as  we  proceed.  By  meeting  perfectly  in  the 
center  I  do  not  mean  coming  nearly  together,  nor  one 
line  just  a  little  longer  than  the  other,  but  that  the  lines 
should  so  perfectly  meet  that  one  could  not  tell  which 
was  cut  first.  Exactness  is  requisite  in  these,  our  first 
steps,  as  well  as  those  we  hope  to  take  later  on.  There 
is  not  one  thing  in  the  rudiments  of  this  beautiful  art 
that  we  can  afford  to  treat  as  a  trifle. 

Next  engrave  the  lines  at  Fig.  3,  avoiding  all  the 
points  of  error  as  in  Figs,  i  and  2,  being  extremely 
cautious  when  cutting  the  lines  up  to  the  corners. 
Having  practiced  cutting  these  lines  until  we  are  able  to 


l6  MODERN  LETTER  ENGRAVING 

cut  them  straight  and  otherwise  as  instructed,  the  stu- 
dent is  prepared  to  take  a  step  higher,  and  commence 
cutting  the  curved  lines,  as  shown  at  Fig.  4.  When 
cutting  these  curves  we  begin  with  the  line  at  the  right, 
as  in  engraving,  all  such  lines  are  cut  on  a  curve;  by  cut- 
ting to  the  right,  I  mean,  in  order  to  make  the  curve  the 
graver  is  turned  to  the  right.  The  reasons  for  engraving 
the  line  or  curve  at  the  right  first  is  therefore  obvious. 
It  is  to  be  understood,  of  course,  that  the  plate  is  turned 
just  opposite  from  its  position  when  the  lines  at  Fig.  i 
were  cut,  and  should  be  to  engrave  the  curves  now 
under  consideration,  so  the  curve  at  the  right  as  shown 
at  Fig  4  would  be  directly  in  front  of  the  operator.  In 
engraving  these  curves,  as  well  as  the  lines  at  Fig.  i,  the 
curve  first  cut  will  answer  as  a  guide.  All  engraving  of 
lines  and  curves,  in  fact  all  other  work  when  possible,  is 
so  cut,  and  the  work  so  placed  in  front  of  the  engraver, 
that  the  cut  just  finished  will  not  be  obstructed  from 
view  by  the  operator's  hand,  or  the  graver.  In  some 
cases  it  is  impossible  to  do  this,  but  it  is  imperative  where 
practicable. 


CHAPTER  IV. 

Assuming  that  the  student  has  mastered  the  cutting  of 
the  curves  at  Fig.  4  we  will  now  endeavor  to  design  and 
engrave  a  loop  or  letter  O  as  shown  at  Plate  4,  Fig.  5, 
with  no  shading  at  first.  Begin  at  H,  the  top  center  of  the 
loop,  and  cut  down  to  the  lower  center  at  K,  where, the 
graver  is  thrown  out  as  formerly  described,  picking  the 
line  up  again  at  this  point  it  is  continued  "up  to  the  top 


center  at  H  where  the  graver  is  thrown  out  as  at  K 
lower  center.  Great  care  should  be  exercised  to  cut  the 
curve  upon  the  same  curve  as  the  down  stroke.  Please 
note  what  is  meant  by  center  of  loops,  as  it  is  here 
exemplified;  I  trust  the  reader  will  remember  when  latter 
referred  to.  Practice  cutting  this  loop  until  you  are 
able  to  manipulate  the  graver  in  its  execution  dexter- 
ously. Our  next  exercise  at  Fig.  6  you  will  find  quite 
difficult  to  cut  perfectly  smooth  and  round,  keeping  the 
same  distance  from  the  line  last  cut  after  we  have  made 
the  first  round,  thus  cutting  the  lines  the  same  distance 

17 


l8  MODERN  LETTER  ENGRAVING 

apart  from  the  beginning  to  the  inner  or  center  coil.  The 
lines  should  be  cut  the  same  width  and  depth  and  per- 
fectly round.  Having  accomplished  the  desired  result 
in  the  execution  of  this,  our  last  of  preliminary  exer- 
cises, we  are  now,  I  sincerely  hope,  in  the  proper  condi- 
tion to  enter  upon  the  consideration  and  execution  of  the 
beginning,  and  all  important  line  in  the  script  alphabet, 
"  the  line  of  beauty  "  shown  at  Fig.  7.  Begin  by  plac- 
ing the  graver  point  at  the  top  end  of  the  line  and,  hold- 
ing the  graver  parallel  with  the  plate,  push  the  tool  for- 
ward with  great  care,  cutting  only  a  hair  line.  We  will 
consider  the  shading  after  we  have  mastered  the  cutting 
of  the  hair  line.  The  line  should  be  so  cut  as  to  appear 
the  same  either  side  up.  When  your  graver  point 
reaches  the  lower  end  of  the  line  throw  the  graver  out 
as  formerly  described  and  continue  designing  and  engrav- 
ing this  line  until  you  have  thoroughly  mastered  its  cor- 
rect formation  and  execution,  the  sequel  of  which  will 
place  the  student  in  position  to  feel  gratified  with  this 
accomplishment,  as  he  will  note  as  he  proceeds  that  the 
cardinal  foundation  stone  to  the  art  of  script  lettering 
has  been  placed  firmly  in  position,  which  will  answer  as 
a  stepping  stone  to  his  future  success.  The  line  under 
consideration  is  a  much  neglected  part  of  the  script 
alphabet  and  its  mastery  is,  as  above  mentioned,  while  its 
neglect  will  obstruct  the  student's  success.  I  therefore 
trust  that  my  readers  will  follow  the  advice  here  given 
and  above  all  things  master  the  "line  of  beauty."  The 
"  line  of  beauty  or  capital  stem  "  is  used  in  the  forma- 
tion of  20  of  the  26  capital  script  letters. 

To  shade  with  a  square  graver  we  merely  turn  the 
tool  over  to  the  right  and  by  so  doing  the  graver  will  cut 
a  groove  as  shown  at  Fig.  9.  Before  we  consider  the 


IN    THEORY    AND   PRACTICE.  I p 

shading  of  the  line  we  now  have  in  hand,  we  should  first 
learn  just  where  the  line  should  be  shaded,  the  begin- 
ning, the  center  and  the  end  of  such  shading.  The 
line  referred  to  should  be  shaded  as  shown  at  Fig.  8 
where  the  cross  line  D  shows  the  point  of  the  begin- 
ning, A  the  center  and  R  the  end,  when  viewed  from 
a  cutting  down  stand  point,  and  vice  versa  when  cut- 
ting up.  In  shading  the  "  line  of  beauty "  or  capital 
stem,  we  begin  at  the  top  as  previously  described  and  so 
continued  until  the  graver  point  arrives  at  the  cross  line 
D  at  which  point  the  graver  is  gradually  turned  from 
the  operator  as  it  is  pushed  forward  and  is  so  continued 
until  the  graver  point  is  pushed  down  as  far  as  the  cross 
line  A,  at  which  point  the  line  reaches  its  maximum  width 
and  gradually  decreases  from  this  point  down  to  the 
cross  line  R,  which  decrease  is  made  by  gradually  turn- 
ing the  graver  back  toward  the  operator  until  it  is  par- 
allel with  the  plate  we  are  cutting  when  the  graver 
point  arrives  at  the  cross  line  R,  and  so  continue  to  the 
end  of  the  line  where  the  graver  is  thrown  out  as 
described  in  a  preceding  chapter.  Now  while  the  tool 
is  in  the  position  as  you  lift  it  from  the  incision  the 
finish  at  the  end  is  made  by  placing  the  graver  point 
just  above  the  end  of  the  line  and  making  a  cut  as  there 
shown,  which  is  not  here  connected,  as  it  should  be  but 
left  separate  to  exemplify  it  correct  formation.  When 
properly  executed  and  connected  it  will  appear  to  be  a 
continuation  of  the  •'  line  of  beauty,"  thus  making  a 
very  neat  finish.  It  is  made  by  turning  the  graver  to 
the  right  quickly  as  the  tool  is  pushed  forward,  turning 
the  hand  around  to  the  right  so  as  to  make  the  neces- 
sary curve.  Immediately  after  the  graver  is  inserted,  the 
hand  is  turned  gradually  back  to  the  left  and  so  con- 


2O  MODERN  LETTER  ENGRAVING 

% 

tinued  until  the  point  of  the  graver  reaches  the  end  of 
the  "  line  of  beauty  "  at  which  point  it  should  be  par- 
allel with  the  plate  and  cutting  a  line  the  same  width  and 
depth  as  the  line  it  meets. 

That  the  line  may  be  in  the  center  of  the  shade  we 
find  it  necessary  to  shade  both  down  and  up.  It  will  be 
plainly  seen  that  if  we  cut  the  line  under  consideration 
up  only  and  shade  to  the  right,  the  shade  thus  cut  would 
all  be  to  the  right  of  the  "line  of  beauty,"  unless  cut  as 
will  be  described  later,  which  manner  of  execution  is 
more  difficult,  and  as  the  writer  believes  in  first  consid- 
ering the  mode  of  procedure  most  easy  of  conception  as 
well  as  execution,  we  will  continue  our  thought  of  shad- 
ing both  up  and  down.  By  both  cutting  down  and  up 
when  shading  the  "line  of  beauty"  the  shade  expands 
out  both  to  the  right  and  left  of  the  center  of  the  line, 
and  in  consequence  does  not ,  deform  the  line.  This 
manner  of  engraving  this  line  does  not  apply  to  that 
style  of  cutting  that  we  would  use  when  engraving 
script  monograms  and  large  bright  cut  letters,  but  is  by 
far  the  most  satisfactory  way  to  engrave  the  line  in  most 
script  lettering.  After  the  cut  at  the  end  of  the  line  is 
made,  as  above  described,  we  turn  the  plate  around  and 
place  the  graver  point  in  the  incision  at  R,  Fig.  8,  and 
cut  up  to  A  and  D,  as  described  for  cutting  down,  except 
when  the  graver  point  is  pushed  up  to  D,  by  gradually 
turning  the  graver  back  to  the  left  from  A.  It  is  plainly 
understood  that  the  graver  when  arriving  at  D  will  be 
parallel  with  the  plate,  and  as  same  is  in  the  same  inci- 
sion cut  by  the  graver  on  its  downward  journey  it  would 
not  have  any  metal  in  front  of  it  when  D  is  reached  and 
thus  would  not  need  to  be  thrown  out,  turned  out,  or 
nvnken  out,  but  it  is  only  necessary  to  very  carefully  lift 


IN    THEORY    AND    PRACTICE.  21 

the  graver  up.  If  this  operation  is  carried  on  as  above 
described  the  result  will  be  that  the  line  will  be  so  care- 
,  fully  engraved  that  the  most  critical  eye  would  find  it 
difficult  to  discern  any  radical  imperfection. 

One  point  favorable  to  this  manner  of  cutting  this 
important  line  is  that  the  line  should  begin  at  the  top 
very  fine.  In  fact,  the  commencement  of  the  line  should 
be  finer  than  the  hair  line  which  constitutes  the  balance 
of  the  letter,  as  it  gives  it  additional  beauty  and  grace. 
And  if  the  line  was  cut  up,  the  graver  cannot  as  easily 
be  made  to  run  out  to  as  fine  a  line  as  it  can  be  made  to 
make  in  the  beginning.  Therefore  to  the  student  I  rec- 
ommend this  manner  of  execution. 

To  one  dexterous  in  the  use  of  the  graver  the  line  can 
be  cut  up  very  effectually  by  running  the  point  of  the 
graver  gradually  to  the  left,  on  arriving  at  R,  as  the 
graver  is  turned  to  the  right,  and  continuing  in  like  man- 
ner to  A,  from  which  point  to  D  it  is  run  back  again  to 
the  line  as  the  turn  of  the  graver  to  the  right,  to  effect 
the  shade,  is  decreased.  In  order  to  have  the  shade 
equal  on  both  sides  of  the  center  of  the  "line  of  beauty" 
it  is  necessary  to  cut  the  line  when  cutting  up  as  above 
described.  This  manner  of  execution  will  give  nearly 
the  same  effect  as  the  one  mentioned  above,  provided 
the  hair  line  is  continued  to  the  end  or  top  and  thrown 
out  to  a  fine  line.  „ 

The  points  I  have  referred  to  are  not  noticeable  in  fine 
script  work,  but  are  thoroughly  exemplified  in  heavy  or 
large  script  lettering,  such  as  is  cut  on  coffin  plates  and 
large  pieces  of  silver  and  plated  hollow  ware. 

The  sin  (I  think  I  am  justified  in  giving  the  appella- 
tion of  sin,  as  it  is  a  sin  against  good  taste)  prevalent  in 
cutting  the  capital  stem  as  above  mentioned  is,  instead 


22  MODERN  LETTER  ENGRAVING 

of  turning  the  graver  up  to  a  fine  hair  line,  it  is  thrown 
in  deeper  at  the  top,  thus  leaving  the  end  heavy  and 
blunt. 


CHAPTER  V. 

Early  in  the  beginning  of  these  chapters  the  writer 
mentioned  a  sand  bag  pad  on  which  articles  are  held 
while  being  engraved.  Years  of  experience  and  care- 
ful consideration  of  all  possible  improvements  to  be 
applied  to  the  art  of  engraving,  and  noting  in  such 
experience  the  necessity  of  a  pad  on  which  could  be 
held  articles  rounding,  such  as  pieces  of  a  tea  set,  prize 
cups,  etc.,  highly  polished,  and  not  mar  them,  holding 
them  more  firmly  than  would  be  possible  with  the  ord- 

•PL.ATE   5 


inary  sand  bag  pad,  the  writer  has  experimented  to 
some  extent  to  devise  such  a  tool  as  would  answer  the 
purpose,  and  the  result  of  such  experiment  is  a  turn 
table,  a  sectional  view  of  which  is  shown  on  Plate  5, 
which  will  revolve  perfectly  easy. 

In  the  top  A.  of  the  turn  table,  which  is  made  of  oak 
wood,  a  circle  pad,  such  as  is  used  with  the  Lancaster 
Engraving  block,  will  just  lit  in  the  grooves  F  F.  With 
the  pad  laid  in  the  grooves  mentioned,  the  reader  will 
conceive  that  by  placing  a  soft  chamois  skin  over  the 
pad  he  can  put  any  rounding  and  highly  polished  article 
in  this  section,  by  so  covering,  and  hold  the  same  very 
firmly.  When  he  desires  to  turn  the  same  with  his  left 

23 


24  MODERN  LETTER  ENGRAVING 

hand  to  make  a  curve  in  the  letter,  instead  of  turning 
the  article  on  the  pad,  the  entire  top  of  the  turn  table 
will  revolve  on  the  pivot  B,  which  pivot  is  made  of  brass. 
All  other  parts,  except  the  three  screws,  are  made  of 
wood,  at  a  very  moderate  cost. 

Should  the  engraver  desire  to  engrave  such  a  "plate  as 
that  which  we  are  now,  at  this  stage  of  our  course, 
engraving  upon,  or  a  coffin  plate,  the  same  is  nailed  to  a 
thin  piece  of  wood,  similar  to  a  cigar  box  cover,  and  laid 
flat  onto  the  round  part  of  pad,  and  turn  the  same  as 
though  we  were  engraving  it  on  an  ordinary  pad,  except 
that  the  top  of  the  turn  table  turns  on  a  pivot  instead  of 
the  article  we  are  engraving  turning  on  pad,  and  turns 
more  freely. 

If  we  have  in  hand  to  engrave  a  small  article,  such  as 
a  match  box,  that  may  be  highly  polished,  the  same  is 
placed  on  a  four  inch  pad,  which,  pad  is  placed  in  the 
center  of  the  circular  pad,  and  in  order  to  hold  the 
former  pad  in  position,  we  nail  or  cement  a  leather 
washer,  such  as  are  used  on  carriages,  of  a  size  that 
will  fit  the  hole  in  the  circular  pad.  Now  the  reader 
will  note  that  with  a  pad  so  arranged  on  our  turn  table  it 
is  an  easy  matter  to  hold  with  our  thumb  and  index 
finger  of  the  left  hand  such  articles  as  highly  polished 
silver  match  boxes,  hat  markers,  coat  markers,  and 
hundreds  of  other  little  articles  of  similar  description. 
In  turning  the  same  to  make  the  curves  in  the  lines  the 
top  of  the  turn  table  would  revolve,  thus  holding  the 
article  firmly  on  the  pad,  not  moving  the  same  on  the  pad 
at  all.  Therefore  the  object  of  this  device  is  obvious,  and 
will  demonstrate  to  the  reader  the  fact  that  he  may  take 
from  any  silversmith's  stock  any  article  and  engrave 
same  without  marring  or  scratching  the  underside  of  the 


II*  THEORY    AND    PRACTICE.  2$ 

article  to  be  engraved.  While  with  the  plain  sand  bag 
pad  in  order  to  make  the  curves  on  the  article  which  we 
are  engraving,  it  is  very  necessary  to  turn  the  same,  thus 
marring  and  scratching  the  side  opposite,  the  one  being 
engraved,  and  after  same  is  engraved  it  is  necessary  to 
do  much  polishing  to  put  the  article  in  its  original  con- 
dition, making  unnecessary  work,  and  in  many  cases  it 
is  impossible  to  put  the  article  in  its  original  state.  Of 
course,  a  soft  Chamois  skin  can  be  laid  over  the  ordin- 
ary pad,  and  which  would,  of  course,  extenuate  the 
tendency  to  mar  the  article,  but  even  with  this  operation 
there  will  be  more  or  less  scratches  on  the  article  when 
finished. 

Perhaps  some  of  my  readers  would  say  that  a  good 
engraver  would  not  turn  the  article  on  the  pad  at  all  if 
it  was  highly  polished;  to  such  I  wish  to  state  that  it  is 
possible  to  do  so,  but  is  far  from  being  practical.  It  is 
much  easier  to  turn  the  article  with  the  left  hand,  as  we 
turn  the  graver  with  the  right,  thus  expediting  the 
curves. 

In  engraving,  many  strokes,  which  are  directly  oppo- 
site, it  is  necessary  to  reverse  the  article,  either  by  turn- 
ing it  around  or  picking  it  up  and  turning  it  around  and 
laying  it  down  again,  which,  of  course,  is  very  unrea- 
sonable. 

The  turn  table  above  described,  is,  in  the  writer's  esti- 
mation, a  very  valuable  article,  and  can  be  made  by  any 
good  wood  turner  for  about  two  dollars;  the  circular 
pad  can  be  had  for  one  dollar,  and  the  four  inch  pad  for 
fifty  cents. 

It  may  be  made  in  some  parts  of  metal,  while  the  one 
described,  to  be  made  in  a  cheaper  way,  is  made  of 
wood,  and  may  have  a  ball  bearing. 


26 


MODERN  LETTER  ENGRAVING 


A  graver  stand  would,  perhaps,  be  of  little  use  to  the 
student  at  this  stage,  but  as  the  one  shown  at  plate  6  is 
a  very  good  companion  piece  to  the  turn  table  just 
described,  and  the  same  being^  a  very  convenient  and 
useful  article  for  the  engraver,  I  will  at  this  time 
describe  it. 

The  center  piece  A  can  be  made  any  length  desired; 
about  ten -inches  is  a  good  length.  The  piece  B,  through 
which  the  gravers  are  placed,  is  about  one  inch  thick, 


"PLATE  6 


o 


? 


and  eight  inches  in  diameter;  base  C  is  same  size.  In 
all  there  will  be  three  pieces.  There  can  be  two  rows, 
holding  fifteen  to  twenty  gravers.  This  stand,  placed 
on  a  table,  the  engraver  can  turn  it  around  and  readily 
select  the  graver  wanted,  and  by  keeping  them  in  this 
stand  they  are  free  from  any  danger  of  point  being 
damaged.  The  piece  B  turns  on  shoulder  of  center 
piece  A. 

The  writer  has  had  a  great  many  of  these  made,  and 
when  ordering  only  one  at  a  time  they  cost  but  $1.50, 
and  I  am  sure  the  reader  would  find  it  a  good  invest- 


IN    THEORY    AND    PRACTICE.  27 

ment.  They  can  be  made  by  any  good  wood  turner, 
and  if  made  of  oak  wood  it  makes  a  very  handsome 
ornament  for  the  work  bench.  The  one  shown  at  plate 
6  is  designed  very  plain,  but  can  be  made  as  ornamental 
as  desired,  using  the  same  idea. 

Every  man  has,  or  should  have,  some  paramount 
object  in  business  life  which  will  employ  his  mind  and 
fill  his  heart.  If  engraving  is  the  reader's  object  of 
accomplishment,  I.  trust  he  will  cultivate  taste  and  seek 
perfection,  and  remember  that  perfection,  (as  near  as  we 
are  able  to  reach  it),  is  accomplished  by  continual  prac- 
tice and  study  of  the  art. 

It  being  the  object  of  these  chapters  to  so  instruct 
that  there  can  be  no  impediment  to  discourage  the 
student  in  his  cupidity  for  the  art,  and  having  experi- 
enced, in  personally  instructing  students,  the  expediency 
of  not  only  the  correct  formation  of  each  and  every  let- 
ter in  the  script  alphabet,  but  the  correct  manner  of 
engraving  same.  I  shall  go  through  the  alphabet  with 
the  reader,  and  carefully  consider  cutting  every  line  in 
each  letter,  that  we  may  thoroughly  understand  which 
line  to  cut  first  and  last,  the  beginning  and  end  of  same, 
and  such  study  cannot  do  otherwise  than  elucidate  to  the 
student's  entire  satisfaction. 


CHAPTER  VI. 

Owing  to  the  fact  that  there  is  embodied  in  this  style 
of  lettering  nearly  all  the  curvatures  and  cuts  necessary 
to  formulate  any  other  style  of  letters,  it  will  not  be 
necessary  to  spend  as  much  time  on  those  that  will  fol- 
low; consequently  we  will  begin  with  the  letter  A.  The 
student,  of  course,  must  now  remember  that  we  have 
explained  the  line  of  beauty,  and,  in  consequence  thereof, 
will  not  consider  that  part  of  each  letter  to  its  fullest 


extent,  but  refer  to  same,  and  expect  the  student  to 
depend  upon  the  contents  of  his  cranium  to  reveal  to 
him  that  which  he  has  been  instructed  in. 

Referring  to  plate  7,  the  letter  A  is  engraved  by  cut- 
ting the  line  of  beauty  in  direction  of  arrow,  and  the 
first  stroke  in  the  letter  is  to  cut  this  line  as  formerly 
described;  after  which,  the  graver  point  is  placed  at  the 
top  of  the  letter,  at  the  point  of  line  A,  and  cut  down, 

28 


IN   THEORY    AND    PRACTICE.  2p 

beginning  with  a  hair  line  and  shade  as  the  graver  is 
pushed  forward  by  gradually  turning  same  from  you  to 
the  right,  and  so  continue  until  the  maximum  width  of 
shade  is  reached,  from  which  point  the  graver  is  grad- 
ually turned  back  to  the  left,  or  toward  the  operator,  as 
it  is  pushed  forward  and  so  continued  until  the  line 
reaches  the  minimum  width,  at  which  point  it  is  thrown 
out  by  i  aising  the  graver  and  giving  same  a  short  quick 
turn  to  the  right,  thus  bringing  the  incision  up  to  a 
fine  point  and  even  with  the  surface  of  the  plate  at  the 
center  of  the  loop  B. 

After  turning  the  plate  or  article  you  are  engraving 
half  around  on  pad,  the  line  is  picked  up  again  at  the 
fine  point  where  it  was  thrown  out  and  continued  up 
to  center  of  loop  at  C,  holding  the  graver  parallel 
with  plate  and  cutting  a  fine  hair  line.  Here  it  is 
thrown  out  as  before,  plate  turned  half  around,  and 
the  line  again  picked  up,  which  is  commenced  by  a 
hair  line,  but  as  the  graver  is  pushed  forward  it  is 
gradually  turned  to  the  right  to  effect  the  shade 
desired  until  graver  point  arrives  at  the  cross  line 
D,  at  which  point  the  shade  reaches  the  maximum 
width,  and  from  this  point  the  graver  is  gradually 
turned  up  to  the  left,  thus  decreasing  the  shade  as 
the  graver  is  pushed  forward  until  just  before  cross- 
ing the  loop  at  B,  from  which  point  it  is  continued 
a  hair  line. 

In  designing  script  letters  the  beginner  should  draw 
three  guide  lines;  one  for  the  top  of  letters,  one  for  the 
bottom,  and  one  between  the  two  for  a  center  guide.  I 
do  not  show  the  lines  referred  to  here,  as  there  being 
other  more  important  drawings  necessary  to  make  plain 
the  manner  of  execution,  which,  with  the  guide  lines. 


3O  MODERN  LETTER  ENGRAVING 

would  be  apt  to  confuse  the  eye  as  to  the  formation  of 
the  letters. 

To  engrave  the  letter  B,  the  capital  stem  is  cut  first; 
next,  the  graver  point  is  placed  at  the  center  of  the  loop 
at  the  center  of  the  right  of  the  capital  stem,  which 
loop  is  just  above  the  center  guide  line,  with  the  lower 
line  of  the  same  resting  on  the  center  guide  line. 

The  student  will  note,  therefore,  that  this  loop  is.  a 
very  little  above  the  center.  Pushing  the  graver  for- 
wrard,  cutting  a  hair  line  until  the  turn  is  made,  then  the 
tool  is  gradually  turned  to  the  right  to  effect  shade,  and 
up  again  to  a  hair  line,  as  previously  mentioned,  for  such 
shading,  and  thrown  out  just  as  the  capital  stem  is 
reached,  where  it  is  picked  up  again  and  continued 
around  to  A,  shading  as  shown,  which  shade  is  executed 
same  as  for  shading  the  letter  A. 

•Now,  turn  the  plate  half  around  and  pick  the  line  up 
again  and  continue  a  hair  line  to  the  end.  By  picking 
up  the  line,  I  do  not  mean  to  place  the  graver  in  the 
incision  just  cut,  but  to  begin  closely  to  the  same  as  pos- 
sible. Next,  begin  at  the  center  of  loop,  at  B,  and  cut 
up  to  the  line  previously  cut  up;  throw  the  graver  out 
and  pick  up  again  on  other  side  of  the  line  and  continue 
to  the  center  of  the  loop,  resting  against  the  capital 
stem.  Now,  as  the  plate  is  in  this  position,  the  hair  line 
at  the  left  of  the  center  of  loop,  at  B,  is  cut,  beginning 
at  end  and  cut  down  to  B. 

C  is  engraved  by  beginning  at  the  end  of  the  left 
stroke  and  cutting  down  to  A,  where  the  graver  is  thrown 
out;  next  cut  down  from  the  center  of  loop  at  B  to 
center  of  loop  C,  holding  plate  in  same  position  as 
graver  is  thrown  out  at  A.  Pick  the  line  up  at  cross 
line  A,  and  cut  up  to  center  of  loop  B;  turning  plate 


IN    THEORY    AND    PRACTICE.  31 

back  to  the  left,  beginning  at  cross  line  C,  cut  up  to 
center  of  loop  D,  where  graver  is  thrown  out;  turning 
to  the  right  a  very  little,  the  line  is  picked  up  and  con- 
tinued around  to  the  end. 

When  the  graver  is  thrown  out  from  a  shade  the 
reader  will  remember  he  must  gradually  raise  the 
graver,  turning  it  up  from  the  right  to  the  left,  at  same 
time  gently  lifting  up  on  graver,  by  which  operation, 
with  a  short  quick  turn  to  the  right,  the  graver  point 
will  leave  the  incision  coming  out  to  a  fine  point.  The 
style  of  script  here  shown  is  very  plain,  and  can  be 
modified  from  this  general  form  to  any  desired  style, 
after  the  student  has  passed  through  the  first  ordeals  of 
lettering,  and  embelished  to  suit  his  artistic  eye. 

I  wish  to  explain  to  the  reader  that  the  illustrations 
here  shown  cannot  be  as  perfect  as  they  should  be 
engraved,  as  the  cuts  are  etchings,  and  must  not  be 
looked  upon  as  samples  of  engraving.  The  work  will, 
however,  be  as  perfect  as  is  required  to  exemplify  the 
formation  of  the  letters  and  the  manner  of  engraving  the 
same. 

The  letter  D  is  engraved  by  cutting  the  line  of  beauty 
or  capital  stem  first,  the  lower  end  of  which  is  at  the 
cross  line  A.  Next  beginning  at  the  cross  line  C,  cut 
over  to  center  of  loop  A;  reverse  plate  on  pad,  and 
beginning  at  cross  line  C-cut  a  hair  line  up  to  D;  now 
turn  plate  a  very  little  to  the  right  and  pick  the  line  up 
on  the  opposite  side  of  capital  stem  and  continue  around 
to  B,  where  graver  is  thrown  out,  plate  turned  to  the 
right,  line  picked  up  again  and  continued  to  end. 

The  letter  E  is  considered  by  most  students  a  difficult 
letter  to  engrave.  Appreciating  this  fact  I  have  endeav- 
ored to  arrange  a  little  frame  in  and  around  which  this 


32  MODERN  LETTER  ENGRAVING 

letter  can  be  easily  designed  and  engraved.  Such  a 
frame  is  shown  at  Fig.  2,  plate  7,  where  A  represents 
lop  guide  line,  B  the  center  guide  line,  and  C  the  lower 
guide  line.  The  line  D,  which  is  supposed  to  be  on  an 
angle  of  45  degrees,  is  the  angle  guide  line.  Sketching 
the  letter  around  this  angle  line,  allowing  the  center  loop 
of  the  letter  to  be  made  just  above  the  center  guide 
line,  I  fail  to  understand  how  any  apprentice  would 
find  it  difficult  to  execute;  at  any  rate  I  feel  sanguine 
that  its  use  would  be  conducive  to  symmetrical  forma- 
tion. 

To  engrave  the  letter  E,  first  begin  at  the  center  of 
loop  C  ancl  cut  down  to  E.  The  reason  for  engraving 
this  lower  portion  first  is  that  by  so  doing  we  have  the 
aid  of  same  for  guide  when  cutting  the  shade  stroke 
above.  Next,  begin  at  center  of  loop  B  and  cut  down 
to  G,  where  the  graver  is  thrown  out,  plate  turned  a  little 
to  the  right,  the  hair  line  picked  up  and  continued  to 
center  of  loop  C,  turning  the  plate  around  to  the  left  to 
gain  the  proper  position  to  begin  the  upper  left  hnnd 
stroke,  which  is  cut  down  to  A  and  graver  thrown  out; 
after  turning  the  graver  to  the  right  sufficiently  to  place 
the  line  in  proper  position  in  front  of  graver,  the  line  is 
continued  up  to  center  of  loop  F,  where  the  graver  is 
thrown  out,  plate  reversed,  and  hair  line  picked  up  at 
same  center  and  continued  around  to  B;  now,  turn  plate 
back  to  the  left,  and  placing  the  graver  point  at  cross 
line  E,  the  hair  line  is  continued  up  to  center  of  loop  D, 
graver  thrown  out,  plate  turned,  and  line  continued  to 
end;  and  thus  endeth  the  laborious  task  of  engraving 
the  letter  E. 

To  engrave  the  letter  F,  as  with  all  letters,  the  main 
body  stroke,  or  capital  stem,  is  cut  first.  The  lower  end 


IN    THEORY    AND    PRACTICE.  33 

of  this  line  of  this  letter  is  at  cross  line  A,  the  finishing 
cut  being  made  in  the  direction  of  arrow  around  to 
meet  the  line  of  beauty,  after  which  begin  at  the  point 
of  V,  at  the  top  of  the  letter,  and  cut  around  to  B, 
where  the  graver  is  thrown  out,  picked  up  again  after 
turning  the  plate  a  little,  and  continued  around  to  the 
end;  residue  of  top  stroke  is  cut  in  the  direction  of  the 
arrow,  beginning  at  the  point  at  V. 

The  line  crossing  the  line  of  beauty  can  be  made  as 
shown,  or  a  straight  line  across  the  center  gives  a  very 
neat  appearance. 


CHAPTER  VII. 

The  word  alphabet  is  derived  from  two  Greek  char- 
acters, and  signifies  the  letters  of  a  written  language 
disposed  in  their  regular  order. 

Among  the  Greeks  and  Romans  the  invention  of  let- 
ters was  generally  attributed  to  the  Phoenicians;  but  the 
Egyptians  took  the  initiatory  step  toward  the  perfection 
of  a  phonetic  system  of  writing  when  they  made  their 
hieroglyphics  the  signs  of  articulate  sounds.  In  Egypt, 
however,  the  phonetic  system  was  ever  imperfect,  in 
consequence  of  the  expression  of  the  same  sounds  by 
many  symbols,  and  the  use  of  the  same  symbols  to 
denote  many  different  sounds,  it  remained  for  the  Phoeni- 
cians to  bring  order  out  of  this  chaos. 

Their" newly  invented  alphabet  the  Phoenicians  made 
known  throughout  the  ancient  world,  and  from  it  every 
other  alphabet  is  directly  or  indirectly  derived.  The 
resemblance  between  some  of  its  characters  and  their 
hieroglyphic  originals  is  very  decided,  and  may  still  be 
traced,  even  in  a  number  of  our  English  capitals,  essen- 
tially the  same  as  the  symbols  of  the  Latin  alphabet, 
which  were  borrowed  in  turn  from  a  Greek  source. 

Tradition  variously  ascribes  the  origin  of  letters  to 
Thoth,  an  Egyptian;  to  Odin,  a  Scandinavian  God,  and 
to  Cadmus,  the  Phoenician. 

Tacquet,  in  his  "  Arithmetical  Theory,"  informs  us 
that  the  various  combinations  of  the  alphabet,  without 
any  repetition,  will  amount  to  620  sextillions,  which  is 
equivalent  to  infinity. 

While  the  beginner  in  the  art  of  engraving  may  think 
before  he  has  finished  engraving  the  twenty-six  letters 

34 


IN    THEORY    AND    PRACTICE.  35 

in  the  alphabet  that  it  is  worthy  of  traditional  mention, 
for  the  benefit  of  the  student  I  wish  to  quote  the  num- 
ber of  letters  in  the  different  languages  derived  from  the 
source  above  mentioned. 

The  English  alphabet  contains  26  letters;  the  French, 
25;  the  Italian,  22;  the  Spanish,  27;  the  Russian,  41; 
the  Hebrew,  Samaritan,  Syrian,  and  Chaldean,  each  22; 
the  Arabic,  28;  the  Persian  and  Egyptian,  each  32;  the 
Turkish,  33;  the  Georgian,  36;  the  Armenian,  38;  the 
Sanscrit,  50;  the  Abyssinian,  202;  and  the  Indian  or 
Brahmanic,  240. 

Thus  noting  the  many  vicissitudes  which  the  origin  of 
the  English  alphabet  has  passed  through  to  reach  that 
point  of  perfection  that  it  has  in  the  nineteenth  century, 
the  student  should  feel  grateful  that  there  are  only  twen- 
ty-six letters  in  the  alphabet  to  thoroughly  master. 

The  letter  G,  Plate  8,  is  engraved  by  first  cutting  the 
left  hand  shade  down  to  A;  next  begin  at  center  of  loop 
B,  cut  down  to  C;  next  place  the  point  of  the  graver  at 
the  top  of  the  capital  stem  D,  and  cut  down  to  V,  which 
place  denotes  the  point  where  the  finishing  cut  and  end 
of  the  capital  stem  meet.  Now  reverse  the  plate  and 
cut  the  hair  lines  in  direction  of  the  arrows.  Of  course, 
the  finishing  cut  at  the  end  of  the  line  of  beauty  is 
made  previous  to  cutting  these  lines. 

To  engrave  the  letter  H  the  short  left  hand  shade  is 
cut  first,  which  shade  is  cut  both  up  and  down,  but  not  in 
same  manner  as  the  double  cut  in  line  of  beauty. 

A  magnified  view  of  this  cut  is  delineated  at  Fig.  2. 

The  reader  will  see  that  the  shade  is  made  by  placing 
the  point  of  the  graver  at  line  B  and  as  graver  is  pushed 
forward  it  is  immediately  turned  over  to  the  right  to 
make  a  cut  the  maximum  width  of  the  shade,  and  as  the 


3O  MODERN  LETTER  ENGRAVING 

graver  is  turned  over  as  it  is  pushed  forward  the  cutting 
edge  of  the  graver  will  extend  over  to  line  A,  while  the 
point  of  the  graver  will  traverse  the  right  hand  line  of 
the  shade  from  point  of  the  line  B.  An  end  view  of  the 
graver  in  position  to  make  this  cut  is  shown  at  Fig.  3, 
where  A  and  B  are  supposed  to  be  the  same  as  in  Fig.  2, 
C  C  line  represents  surface  of  the  plate.  The  graver 


is  thrown  out  at  end  of  the  shade  as  formerly  described 
for  completing  such  shades.  The  plate  is  now 
reversed,  point  of  graver  placed  at  A  and  the  upper 
part  of  the  stroke  manipulated  in  same  manner  as 
described  for  cutting  the  down  stroke,  this  double  cut  is 
of  vital  importance,  and  if  the  student  cannot  execute  it 
accurately,  I  would  advise  a  short  stop  at  this  point 
and  continual  practice,  cutting  this  double  cut  until 
efficiency  has  crowned  his  efforts.  The  necessity  of 
this  manner  of  executing  this  stroke  is  that  it'  should 
come  up  to  a  fine  point  exactly  the  same  at  the  top  as 


IN    THEORY    AND    PRACTICE.  37 

at  the  bottom,  a  graceful  turn  to  such  point,  and  it  is 
utterly  impossible  to  make  it  in  any  other  manner  and 
obtain  the  same  result. 

Now  while  the  graver  is  in  position  as  it  leaves  the 
shade  at  the  top  A,  it  is  again  inserted  and  the  line  A 
continuing  to  the  end  in  direction  of  the  arrow;  while 
the  plate  is  in  same  position  the  line  of  beauty  or 
capital  stem  is  cut  down  beginning  at  point  C,  while  the 
plate  is  in  position  as  the  end  of  the  capital  stem  is  fin- 
ished, the  finishing  cut  at  the  end  is  made.  Now  place 
the  point  of  the  graver  at  D,  center  of  loop,  and  cut 
down  to  F ;  reverse  plate,  and  make  the  upper  shade  of  the 
line  of  beauty.  Cut  hair  line  from  B  up  to  C,  next 
place  the  graver  point  at  the  right  of  the  shade  stroke 
from  D  to  F  and  cut  the  hair  line  up  to  D.  With  plate  in 
same  position  cut  hair  line  from  F  up  to  E  where  the 
graver  is  thrown  out. 

The  graver  is  thrown  out  at  center  of  all  loops,  The 
graver  is  again  inserted  at  center  of  loop  E  and  con- 
tinued to  end  of  line.  While  the  plate  is  in  this  position 
the  hair  line  crossing  the  two  main  strokes  is  continued 
to  end,  in  direction  of  arrow. 

After  the  capital  stem  of  the  letter  I  is  completed  the 
graver  is  placed  at  the  top  of  said  line  and  continued  to 
A,  thence  the  hair  line  to  the  end. 

Letter  J  is  cut  by  first  cutting  the  main  body  stroke : 
next  the  graver  is  placed  at  the  top  of  said  line  B  and  con- 
tinued to  A;  while  plate  is  in  same  position  the  lower 
loop  is  cut  by  beginning  at  the  left  of  capital  stem  and 
cutting  in  direction  of  arrow  to  C;  the  plate  is  now 
reversed  and  the  residue  of  the  hair  line  mentioned  is 
made.  While  the  plate  is  in  this  position  the  hair  line 
from  A  is  cut  to  the  end. 


38  MODERN  LETTER  ENGRAVING 

The  letter  K  is  engraved  the  same  as  the  letter  H  for 
that  part  which  is  the  same  as  the  letter  H,  for  which 
the  shade  from  the  center  of  the  capital  stem  is  cut  in 
the  same  manner  as  the  double  cut  above  described, 
except  that  the  said  cut  should  be  a  very  little  heavier  as 
it  nears  the  bottom  at  D.  The  hair  line  at  the  right  and 
top  is  cut  from  the  center  loop  up  and  the  cut  at  the  end 
executed  in  same  manner  as  described  for  making  similar 
cut  at  end  of  the  line  of  beauty.  Now  place  the  point 
of  graver  at  D  holding  same  up  straight  or  parallel  with 
plate,  which  position  is  necessary  for  cutting  hair  line 
and  cut  from  D  up  to  C,  thence  to  the  end  of  the  line. 

The  letter  L  is  engraved  by  first  cutting  the  upper 
left  hand  stroke  down  to  A,  then  the  line  of  beauty  is 
cut  down,  plate  reversed,  line  of  beauty  shade  completed, 
hair  line  cut  from  A  up  to  B,  graver  placed  a  little  to  the 
right  of  the  loop  C,  the  shade  across  the  line  of  beauty 
at  the  bottom  is  made  by  beginning  at  the  point  V  and 
cutting  in  direction  of  arrow  to  the  end  of  the  line,  bring- 
ing the  shade  up  to  a  hair  line  as  delineated,  without 
throwing  it  out.  Reverse  the  plate,  place  the  point  of 
the  graver  at  V  and  continuing  the  line  to  the  center  of 
the  loop  C;  this  cut  is  made  by  some  engravers  by 
beginning  at  the  center  of  the  loop  C  and  continuing 
the  line  to  the  end.  My  object  in  starting  the  line  from 
the  point  V  is  that  we  can  make  a  better  loop  by  cutting 
it  around  to  the  right,  than  we  could  by  cutting  it  around 
from  the  left.  The  expediency  of  this  mode  of  proced- 
ure will  manifest  itself  to  the  practioner  by  practicing 
to  execute  the  cut  in  both  ways. 

In  engraving  the  letter  M  we  begin  at  the  top  and  cut 
four  lines  down  as  follows:  first  the  line  of  beauty,  next 
shade  from  E  to  A,  this  shade  stroke  is  either  cut  up  or 


IN    THEORY    AND    PRACTICE.  39 

down  only,  or  both,  cut.  one  way  in  cheap  work,  next 
hair  line  from  D  nearly  down  to  A  as  delineated, 
next  shade  from  D  to  B,  reverse  plate,  cut  up  stroke 
of  shade  from  A  to  E,  hair  line  from  B  to  C,  thence 
to  end. 


CHAPTER  VIII. 

The  letter  N,  Plate  9,  is  engraved  by  cutting  the  line  of 
beauty  first,  after  which  place  the  graver  point  at  top  of 
said  line  A  and  cut  down  to  B,  which  shade  is  shaded 
both  up  and  down  as  described  for  shading  line  of 
beauty.  In  cheap  work  either  cutting  up  or  down  only 
is  sufficient;  the  reason  for  cutting  both  ways  in  fine 
work  is  that  by  so  doing  we  get  more  beautiful  effects. 


The  hair  line  from  B  up  to  V  is  engraved  in  the  same 
manner  as  hair  line  of  beauty. 

Letter  O  is  engraved  by  first  cutting  from  A  to  B  and 
next  from  C  to  end  of  line.  Reverse  plate,  beginning  at 
the  end  of  line  cut  up  to  A,  next  place  the  graver  point 
at  cross  line  B  and  cut  up  to  C. 

Letter  P  is  engraved  in  direction  of  arrows  and  as 
described  for  engraving  the  letter  B  as  much  of  said 
letter  as  is  the  same  as  letter  P. 

The  letter  Q  is  engraved  the  same  as  the  letter  O  where 
those  parts  are  the  same  style  as  said  letter.  The  line 
from  center  of  loop  D  is  cut  when  the  letter  is  made  on 
a  large  scale,  both  ways,  half  shade  being  cut  in  one 

40 


IN    THEORY    AND    PRACTICE.     v  4! 

direction  the  other  half  the  other,  but  for  small  capitals 
a  cut  can  be  well  executed  by  making  it  one  continual 
stroke  from  cross  line  D  to  the  end. 

The  letter  R  is  engraved  the  same  as  the  letter  B, 
except  the  lower  right  hand  stroke  which  stroke  is 
engraved  from  the  center  of  center  loop  down  to  D,  the 
same  as  described  for  engraving  the  same  stroke  in  the 
letter  K,  continuation  of  said  stroke  being  engraved  the 
same  as  described  for  engraving  that  letter 

The  letter  S  is  engraved  by  first  cutting  the  upper 
left  hand  stroke  down  to  B,  next  the  capital  stem  from 
center  of  loop  A  down  to  point  V;  now  reverse  the 
plate,  cut  shade  of  line  of  beauty  up  as  formerly 
described  for  making  such  shades;  then  place  the  graver 
point  at  cross  line  B,  cut  up  to  the  center  of  loop  A. 

The  letter  T  is  engraved  according  to  the  arrows  and 
as  mentioned  for  engraving  the  letter  F,  which  two 
letters  are  the  same  except  that  in  the  T  the  cross  line 
in  the  center  of  line  of  beauty  is  absent. 

The  letter  U  is  engraved  by  first  placing  the  graver 
point  at  cross  line  H  and  cutting  down  to  center  of  loop  C; 
next  place  the  graver  at  the  top  of  stroke  K :  it  is  laid 
over  so  as  to  cut  the  line  the  width  of  shade  desired,  and 
pushed  forward,  holding  the  graver  on  same  angle  until 
nearly  to  the  cross  line  E,  where  it  is  gradually  turned 
up  to  the  left,  and  thrown  out  at  cross  line  E.  The  top 
of  this  stroke  should  be  perfectly  square,  and  on  a  line 
with  the  guide  line.  It  is  quite  impossible  to  insert  a 
square  graver  in  cutting  such  a  stroke,  so  as  to  make  it 
as  desired;  the  appearance  of  the  stroke  made  in  the 
manner  described  would  be  as  at  Fig.  2,  the  point  A 
being  where  graver  is  pushed  in,  but  before  the  graver 
reaches  its  maximum  depth  ;in  the  incision,  the  cutting 


42  MODERN  LETTER  ENGRAVING 

edge  of  the  graver  would  be  nearly  as  far  down  if  not 
entirely  so,  as  shown  at  line  B.  This  diagram  may  be 
an  exaggeration  of  the  manipulation  of  this  important 
point  in  cutting  this  line,  it  of  course  depending  upon  the 
angle  to  which  the  graver  is  sharpened  in  front,  but  in 
most  cases  the  stroke  would  be  in  appearance  about  as 
shown  at  Fig.  2 :  if  not  as  much  as  there  delineated  it 
would  be  on  angle  instead  of  being  square  or  flat  with 
the  guide  line.  Now  in  order  to  square  this  line  up  the 
graver  point  is  again  placed  at  point  A  and  the  stroke 
C  is  cut.  The  cut  as  shown  at  C  is  made  by  pushing 
graver  in  direction  of  arrow  C,  which  cut  will  square 
the  shade  perfectly,  and  if  made  as  it  should  be,  it  will 
be  almost  impossible  to  detect  that  the  second  cut  has 
been  made.  The  student  will,  of  course,  understand 
that  the  cut  C  will  be  placed  down  on  the  angle  from 
B  to  A  Fig.  2 ;  a  very  little  practice  will  enable  the 
student  to  execute  this  line  dexterously. 

In  cutting  the  letter  U,  after  this  portion  has  been 
engraved,  the  plate  is  reversed  and  the  graver  point  is 
placed  at  cross  line  R  and  cut  up  to  A.  The  student 
will  note  therefore  that  this  line  is  a  double  cut,  placing 
the  graver  at  cross  line  A  cut  down  to  B  center  of  loop, 
turning  the  plate  the  graver  is  again  inserted  and  the 
hair  line  from  B  finished;  next  the  hair  line  from  C  up 
to  that  point  of  the  shade  as  marked  by  line  F.  Now 
place  the  graver  point  at  cross  line  E  and  cut  up  to  D, 
turn  the  plate  around  to  the  right  and  cut  from  D  to  the 
end  of  line. 

To  engrave  the  letter  V,  plate  10,  first  cut  the  double 
cut  from  B  to  C ;  next"  cut  the  main  body  stroke,  after 
which  cut  the  hair  line  from  B  over  to  the  end,  next  hair- 
line from  C  up  to  A,  next  the  hair  line  from  the  bottom 


IN    THEORY    AND    PRACTICE. 


43 


of  the  letter  up  to  V,  after  which  make  the  little  cut 
at  the  end  which  meets  the  hair  line  at  the  point  of  the 
letter  V. 

The  letter  W  is  cut  the  same  as  the  letter  V;  it 
embodying  the  same  strokes,  it  is  not  necessary  to  direct 
the  student's  method  of  procedure. 

The  letter  X,  which  is  seldom  used,  is  engraved  by 
first  cutting  from  C  up  to  A,  reverse  the  plate  and  cut 
from  G  to  E.  These  being  the  main  body  strokes,  the 
residue  of  the  letter  is  cut  in  direction  of  arrows,  and 


the  manner  of  procedure  according  to  directions  hereto- 
fore mentioned  for  cutting  such  loops. 

The  letter  Y  is  engraved  by  first  cutting  the  down 
stroke  of  the  line  of  beauty,  at  which  time  the  finishing 
cut  is  made  at  the  end:  next  cut  half  of  the  double  cut 
from  B  to  D;  reverse  the  plate,  shade  the  beauty  stroke 
up  and  the  upper  half  of  the  shade  .stroke  from  D  to  B, 
throwing  the  graver  out  at  the  center  of  the  loop  B, 
turning  the  plate  sufficiently  to  gain  the  proper  position; 
place  the  graver  point  at  cross  line  B,  continue  to  C, 
where  the  graver  is  thrown  out,  the  line  picked  up  again 
and  continued  to  the  end.  The  hair  line  from  D  to  A  is 
now  cut,  which  finishes  the  letter. 


44  MODERN  LETTER  ENGRAVING 

The  last  letter  of  the  alphabet,  Z,  is  cut  first  by  begin- 
ning at  the  center  of  the  loop  A,  and  cutting  down  to  C. 
This  line  is  not  shaded.  Next,  placing  the  graver  at  the 
point  of  the  reversed  V,  cut  in  direction  of  the  arrow  over 
to  B  where  graver  is  thrown  out  and  hair  line  continued 
to  the  end.  Reverse  plate,  beginning  at  point  of  V  just 
mentioned,  cut  around  in  direction  of  arrow  to  center  of 
loop  A.  While  plate  is  in  position  as  this  stroke  is  cut, 
place  the  graver  point  at  the  point  of  V  and  cut  in  direc- 
tion of  arrow  to  end  of  hair  line,  the  graver  is  gradually 
turned  up  to  left  after  shade  is  made,  and  continued  a  hair 
line,  not  throwing  the  graver  out  until  the  end  of  the  hair 
line  is  reached.  Now  reverse  the  plate,  and  placing  the 
point  of  the  graver  at  the  point  of  V  last  mentioned,  cut 
in  direction  of  arrow  over  to  C 

Thus  ending  the  instructions  for  cutting  the  capitals  of 
the  script  alphabet,  I  wish  to  impress  upon  the  student's 
mind  a  few  points  of  vital  importance  to  his  success 
which  I  have  in  going  through  the  course  of  instructions 
thus  far,  endeavored  to  so  instruct  that  he  might  accom- 
plish his  work  in  the  most  beautiful  and  at  the  same  time 
easy  manner.  Do  not  forget  that  in  cutting  a  loop  that 
the  graver  should  begin  and  end  in  the  center  of  same 
when  cut  in  opposite  directions.  By  so  doing  you  will 
be  able  to  execute  a  loop  in  its  proper  formation,  where, 
if  otherwise  executed,  it  would  be  impossible  to  make  a 
graceful  curvature. 

In  going  through  the  alphabet  I  have  mentioned  many 
times  the  line  of  beauty,  capital  stem  and  body  stroke; 
this  I  have  done  for  the  reason  that  the  line  referred  to  is 
known  by  the  three  names  mentioned,  and  as  one  of  the 
three  is  known  if  not  the  entire  number,  to  all  engravers, 
I  have  mentioned  all  three  for  the  benefit  of  those  who 


IN    THEORY    AND    PRACTICE.  45 

are  not  familiar  with  them,  thereby  being  able  to  speak 
intelligently  to  all  in  reference  to  this  important  line, 
and  where  I  have  mentioned  either  of  the  three  I  have 
referred  to  the  main  body  stroke  of  the  capital  letter. 
In  reference  to  the  cutting  of  this  line  when  shaded  both 
ways,  I  wish  to  repeat  the  fact  that  some  of  our  best 
engravers  cut  only  one  way,  shading  up  stroke,  but  for 
reasons  that  I  have  previously  mentioned  I  deem  it  expe- 
dient for  the  operator  to  cut  the  line  both  ways,  and 
after  he  has  enabled  himself  to  dexterously  execute  this 
line  he  is  at  liberty  to  use  either  one  of  the  ways  for 
cutting  it.  I  should,  however,  recommend  the  cutting 
of  the  line  in  both  ways;  but  in  cheap  engraving,  of 
course,  we  are  riot  supposed  to  enter  into  all  of  these 
points  of  accurate  execution,  and  therefore  the  student 
could  shade  this  stroke  in  one  cut  by  following  the 
directions  mentioned  for  cutting  the  line  of  beauty  in  the 
beginning  of  instructions  for  cutting  said  line,  the  double 
stroke  such  as  at  cut  B  to  C  in  the  letters  V  and  W, 
would  state  that  it  is  best  that  this  cut  be  made  by  cut- 
ting both  up  and  down,  for  reasons  I  have  delineated 
for  such  cuts.  However,  many  expert  engravers  only 
cut  one  way,  either  up  or  down,  in  bright  cut  work  on 
silver  or  plated  ware.  I  often  cut  only  one  stroke  to 
make  this  shade,  and  that  either  up  or  down  as  is  most 
convenient,  but  usually  cut  up.  But  for  fine  work  on 
polished  material,  such  as  gold  watch  caps,  where  a  deep 
and  most  perfect  cut  is  requisite,  I  cut  first  down,  then 
up.  If  the  reader  will  notice  a  fine  piece  of  engraving 
on  a  Swiss  watch  cap  he  will  there  see  that  the  cuts 
mentioned  are  cut  both  up  and  down,  and  the  effect  is 
most  beautiful. 


CHAPTER  IX. 

Now  that  I  have  by  the  aid  of  the  arrows,  guide  lines, 
cross  line  marks,  etc.,  guided  the'  student  into  the  best 
manner  of  engraving  the  capitals  of  the  script  alphabet 
in  referring  to  such  strokes  in  future  instructions  I  will 
of  course  take  it  for  granted  that  he  understands  the 
correct  manipulation  of  all  strokes  and  cuts  that  we  have 
gone  through  in  engraving  the  alphabet. 

To  the  student  who  is  extremely  anxious  to  advance 
with  the  ipth  century  rapidity,  I  would  most  earnestly 
advise  not  to  endeavor  to  cut  either  the  figure  or  the 
lower  text  letters  until  he  can  with  some  degree  of 
exactness  execute  the  letters  we  have  gone  over.  By  this 
method  you  will  be  more  sure  of  rapid  success  in  com- 
pleting your  studies  of  engraving. 

We  will  now  consider  cutting  the  figures,  in  the  style 
appropriate  for  combining  with  the  capitals  we  have 
been  instructed  in. 

The  figure  i,  Plate  10,  is  engraved  by  cutting  the 
body  stroke  down  first,  which  is  squared  up  at  the 
bottom  as  mentioned  for  squaring  up  the  top  of  the 
main  stroke  in  the  letter  U  of  the  capitals  previously 
mentioned;  as  the  graver  is  thrown  out  at  the  bottom 
it  will  appear  as  shown  at  A  of  the  diagram  in  the 
figure  i,  and  the  student  will  therefore  note  that  it  is 
not  flat  with  the  lower  guide  line.  In  order  to  make  it 
so,  cut  B  is  made  by  pushing  the  graver  forward  in 
direction  of  arrow  by  placing  the  point  of  the  graver  at 
the  point  where  the  lines  C  and  H  meet  and  cutting  on 
an  angle  in  direction  of  the  arrow,  which  will  perfectly 
square  the  bottom  of  the  figure  with  the  guide  line. 

46. 


IN    THEORY    AND    PRACTICE.  47 

In  designing  figures  it  is  necessary  only  to  draw  the 
top  and  bottom  guide  lines. 

The  figure  2  is  engraved  first  by  placing  the  graver 
point  at  V  and  cutting  up  to  A,  where  the  graver  is  thrown 
out,  line  picked  up  again  and  continued  to  B.  As  the 
graver  is  thrown  out  at  B  it  is  placed  again  at  the  point 
of  V  and  the  main  stroke  is  continued  to  the  end;  now 
reverse  plate  and  placing  the  graver  point  just  above  the 
lower  end  of  main  body  line,  cut  the  stroke  C  to  the  end 
in  direction  of  arrow.  This  can  be  made  one  continuous 
cut  if  the  tool  is  handled  skillfully.  It  is  sometimes  made 
by  cutting  both  ways,  i.  e.,  a  double  cut,  such  as  has  been 
explained.  Next  cut  the  hair  line  from  cross  line  B  to 
end. 

In  engraving  the  figure  3,  we  cut'  the  first  shade  to 
the  right  by  placing  the  graver  point  at  cross  line  C, 
cutting  up  to  D  where  the  graver  is  thrown  out  and  again 
placed  at  line  E,  and  cut  up  to  cross  line  A.  Turning 
the  plate,  place  the  graver  point  at  the  cross  line  where 
it  was  thrown  out  and  cut  around  to  the  end  of  the  line, 
while  the  graver  is  in  this  position.  Now  place  the 
graver  point  at  D  and  cut  over  the  end  of  the  center 
loop.  In  small  figures  this  loop  is  imitated  by  holding  the 
graver  parallel  as  in  cutting  the  hair  line  it  is  thrown  in 
deep,  which  cut  gives  an  appearance  of  a  loop.  If  the 
figure  is  large  it  is  of  course  made  a  regular  loop.  Now 
place  the  graver  point  at  end  of  line  F  and  cut  up  to  B, 
where  the  line  is  continued,  and  cut  hair  line  around  to  C 
in  direction  of  arrow. 

In  engraving  the  figure  4,  place  the  graver  at  the  top 
of  line  C  and  cut  down,  square  the  same  by  the  aid  of 
extra  cut  as  described  for  squaring  up  the  bottom  of 
the  figure  i.  Next  cut  from  the  center  of  loop  A  up  to 


48  MODERN  LETTER  ENGRAVING 

B,  squaring  the  top  as  formerly  described;  now  place 
the  graver  point  at  V  and  cut  the  cross  line  to  the  end; 
reverse  plate,  placing  the  graver  point  at  beginning  of 
last  line,  cut  to  point  of  V  and  cut  over  to  center  of 
loop  A. 

Figure  5  is  engraved  by  beginning  at  cross  line  B, 
cutting  up  to  A.  Next  the  line  connecting  the  top 
stroke  with  the  bottom  part  of  the  figure:  now  place 
graver  point  at  end  of  stroke  C  and  cut  in  direction 
of  arrow,  and  cut  into  line  D;  now  place  the  graver 
point  at  cross  line  A  and  cut  down  to  E;  next  place 
the  graver  point  at  V  and  cut  around  to  cross  line  B, 
and  thence  make  the  cut  X,  as  described  for  making 
cut  at  the  end  of  the  line  of  beauty,  which  cut  should  be 
the  same  as  said  cut. 

The  figure  6  is  engraved  by  placing  the  graver  point 
at  cross  line  A  and  cutting  down  to  C,  thence  up  to  B  and 
continue  hair  line  to  the  end.  Next  make  the  cut  at  the 
top  and  right,  which  is  cut  the  same  as  the  cut  X  for 
figure  5. 

In  engraving  the  figure  7,  the  main  body  stroke  is  cut 
the  same  as  in  the  figure  i.  Next  the  stroke  trom  B  to  A 
is  executed  by  starting  at  a  fine  point  and  gradually  turn- 
ing the  graver  over,  throwing  the  same  in  deeper  as  it  is 
pushed  forward  so  that  it  will  be  blunt  on  the  end  where 
the  graver  is  thrown  out;  the  little  point  at  A  will  be 
higher  than  the  residue  of  end  of  said  cut,  and  when  the 
cut  at  the  top  is  made  in  the  direction  and  formation  as 
shown,  will  meet  this  cut  so  that  the  little  point  referred 
to  will  be  visible,  thus  making  the  finishing  to  the  figure. 
The  figure  7  is  a  very  beautiful  figure  when  accurately 
made,  and  is  indeed  a  very  awkward  and  homely  figure 
when  otherwise  executed, 


IN    THEORY    AND    PRACTICE.  49 

The  figure  8  is  engraved  in  many  different  ways. 
The  one  used  mostly  for  small  figures,  size  that  would  be 
engraved  inside  of  an  ordinary  wedding  ring,  is  engraved 
by  first  cutting  from  cross  line  C  to  line  B,  where  the 
graver  is  bluntly  thrown  out,  or,  in  other  words,  the  chip 
in  front  of  the  graver  is  broken  off  by  lifting  graver  up. 
Now  reverse  plate,  and  the  graver  point  placed  at  cross 
line  A,  cut  down,  gradually  turning  the  graver  to  the 
right  to  execute  the  necessary  shade  which  meets  in  the 
center  of  the  figure,  the  line  we  have  cut  up  to  B.  If  this 
is  done  as  it  should  be  when  the  line  crossing  the  shade 
stroke  mentioned  is  made,  it  will  entirely  obliterate  the 
visible  meeting  of  the  two  lines.  This  cross  line  is  cut 
by  placing  the  graver  at  B  and  cutting  up  to  A;  next  on 
opposite  side  of  the  shade  from  line  B  and  cutting  down 
to  C  in  like  manner.  If  we  are  engraving  this  figure  on 
a  large  scale  the  line  would  be  engraved  by  one  continu- 
ous stroke,  ^s  described  for  engraving  the  line  of  beauty 
when  it  is  engraved  by  making  one  stroke  only.  These 
methods  of  engraving  this  figure  are  the  ones  most  prev- 
alent. 

In  engraving  the  figure  9,  cut  from  cross  line  B  up  to 
A,  next  from  A  to  C,  then  the  end  cut  of  the  figure  at 
the  bottom  is  made  as  described  for  making  such  cut  in 
in  figure  6;  next  hair  line  from  C  is  cut. 

Figure  o  is  engraved  by  cutting  from  A  to  B,  and  from 
B  to  A.  The  graver  should  begin  at  center  and  end  in 
the  center  of  the  loop.  The  stroke  should  curve  equally  on 
both  sides  to  gain  the  correct  formation  of  the  figure. 

Figures  3  and  4  shown  at  the  right  of  o  are  engraved 
in  direction  of  arrows  and  according  to  cross  lines  there 
shown.  It  is  not  necessary  for  me  to  direct  the  student 
how  to  cut  these  two  figures,  as  same  cuts  are  embodied 


5O  MODERN  LETTER  ENGRAVING 

in  the  figures  we  have  just  described.  I  show  the  3  and 
4  of  a  different  style,  as  the  style  we  have  shown  is  used 
to  some  extent,  and  if  the  student  prefers  them  to  the 
ones  formerly  described,  they  will  harmonize  with  the 
other  figures  in  style  shown. 


CHAPTER  X. 

Before  we  consider  engraving  the  lower  letters  of  the 
script  alphabet,  a  brief  consideration  6f  valuable  acces- 
sories to  the  correct  symmetrical  formation  of  same 
would  be  expedient. 

As  has  been  formerly  stated,  the  script  letters  should 
lay  over  to  the  right  on  an  angle  of  about  45  degrees. 


PLATE  //. 


ry,  f. 


It  has  been  my  experience  in  instructing  students  that 
many  fall  short  of  the  exact  conception  of  an  angle  of 
45  degrees,  without  the  aid  of  an  angular  circle  of  a 
protractor.  A  protractor  is  a  half  circle  and  a  complete 
circle  consisting  of  360  degrees,  a  protractor  would 
therefore  consist  of  180  degrees. 

A  simple  form  of  a  protractor  with  only  the  5  angles 
shown  is  delineated  at  Fig.  2,  Plate  u,  the  half  circle 
containing  180  degrees  divided  into  four  equal  parts, 
each  part  would  be  from  line  to  line  45  degrees  apart; 


52  MODERN  LETTER  ENGRAVING 

the  line  o  being  perpendicular,  and  the  line  or  bottom  of 
the  perpendicular  90  being  horizontal;  a  line  drawn  from 
the  apex  on  a  line  crossing  the  arc  half  way  between  o 
and  90  would  therefore  be  on  an  angle  of  45  degrees. 

Such  an  instrument  as  above  described  can  be  easily 
made  by  the  student  or  he  can  purchase  them  with  all  of 
the  degree  registers  stamped  thereon  at  the  stationers. 
I  should  advise  all  beginners  to  purchase  such  an  instru- 
ment, they  being  made  of  celluloid  are  very  inexpensive 
and  their  use  to  the  student  is  conducive  to  exactness  in 
the  formation  of  letters  and  grinding  angle  of  gravers. 

As  geometrical  drawing  is  required  to  make  the  pro- 
tractor mentioned  and  to  obtain  the  various  angles  that 
a  student  may  need  in  getting  any  desired  angle  in 
sketching,  copying  or  mounting  up  tools,  we  will  briefly 
consider  same  as  may  be  required  for  such  work  as  the 
engraver  will  be  called  upon  to  execute.  At  Fig.  3,  is 
shown  a  complete  circle  with  the  perpendicular  H  and 
45  degrees  angles  drawn,  also  a  square  inside  of  the 
circle.  This  circle  with  these  lines,  except  the  45  degree 
angles,  are  of  radical  importance  to  the  engraver  in 
formulating  inscriptions  or  designing  and  engraving 
monograms  of  all  styles.  As  we  now  consider  it,  we 
will  expect  the  student  to  remember  the  details  when  we 
advance  to  that  stage  in  the  art  of  engraving  monograms 
as  we  will  there  have  occasion  to  refer  to  it. 

If  we  take  our  compass  and  make  a  circle  with  it,  we 
of  course  have  our  center,  but  there  are  many  articles 
which  come  to  the  engraver  which  are  perfectly  round, 
and  in  designing  on  such  articles  any  style  of  lettering, 
it  is  necessary  that  he  know  the  center  point  of  same;  it 
is  the  rule  of  many  engravers  to  draw  the  zero  and  90 
degree  lines  and  guess  at  the  center,  this  may  do  very 


IN    THEORY    AND    PRACTICE.  53 

well  for  the  well  cultivated  eye  that  can  draw  such  lines 
and  obtain  the  desired  central  point  with  some  degree  of 
exactness,  but  there  are  many  cases  that  call  for  finer 
classes  of  work,  where  it  is  necessary  that  we  know 
geometrically  where  such  center  is,  and  especially  to 
to  the  student,  therefore  we  will  now  consider  how  to 
find  the  center  of  the  circle. 

In  order  to  find  such  center  it  is  first  necessary  to  learn 
how  to  erect  a  perpendicular  on  a  straight  line. 

Referring  to  Fig.  4,  assuming  D  to  be  the  point  on 
line  E  R,  at  which  a  perpendicular  is  to  be  drawn,  on 
either  side  of  D  measure  with  your  compass  equal 
distance  from  D,  D  to  R,  D  to  E;  from  E  and  R  with 
the  radius  about  equal  to  the  distance  E  R,  draw  two 
circular  arcs  cutting  or  crossing  one  another;  if  their 
point  of  intersection  F  be  joined  to  D  the  line  D  F  will 
be  the  required  perpendicular. 

To  find  the  center  A  of  the  circle,  mark  on  the  cir- 
cumference 3  points,  A  B  and  C,  Fig.  5,  join  A  to  B,  C 
to  B,  at  the  middle  point  of  each  of  these  lines  erect  a 
perpendicular  as  above  described.  After  making  such 
line  the  point  of  intersection  of  these  perpendiculars 
will  be  the  center  of  the  circle. 

Now  that  we  know  how  to  find  the  center  of  a  circle, 
and  that  we  know  the  manner  of  erecting  a  perpendicu- 
lar line,  the  next  thing  necessary  to  make  the  various 
angles  is  to  learn  the  best  method  of  subdividing  an 
angle  into  equal  parts.  In  addition  to  the  use  of  the 
protractor  for  such  purposes,  we  may  use  the  following 
graphic  method,  which  is  perhaps  a  more  scientific  mode 
of  procedure. 

Referring  to  Fig.  3,  suppose  we  wish  to  draw  a  line 
half  way  between  45  and  90  angles,  we  open  our  com- 


54  MODERN  LETTER  ENGRAVING 

pass,  now  place  one  point  of  the  compass  at  45  degree 
line  and  draw  an  arc  to  the  left,  now  place  one  point  of 
the  compass  at  90  angle  line,  and  draw  another  arc 
crossing  the  one  previously  drawn;  now  a  line  drawn 
from  the  point  where  these  two  lines  meet  to  the  center 
of  our  circle  will  be  equal  distance  between  45  and  90 
arigle  lines;  our  circle  can  thus  be  divided  into  as  many 
degrees  as  desired. 

After  making  the  angles  in  our  circle,  the  student  can 
plainly  see  that  in  order  to  make  the  square  inside  our 
circle  all  that  is  necessary  is  to  draw  a  line  from  45 
degree  angle  at  the  left  to  the  same  line  at  the  right, 
thence  to  the  135  degree  angle,  thence  to  the  left  to  the 
same  angle,  and  from  this  angle  to  the  45  degree  angle 
or  place  of  beginning. 

Now  we  are  in  full  possession  of  the  knowledge  nec- 
essary for  the  work  that  we  have  in  hand. 

At  Fig.  i,  is  shown  a  very  useful  article  for  the 
engraver,  especially  on  very  flat  work;  it  is  a  parallel 
rule,  with  the  aid  of  which  a  student  can  draw  parallel 
lines  with  great  accuracy.  Such  a  parallel  rule  can  be 
made  by  the  student  or  can  be  purchased  at  the  sta- 
tioners, of  ebony,  for  35  cents,  being  made  by  Keuffel 
&  Esser  Co.,  of  New  York  city. 

The  student  may  look  upon  these  drawings  as  unnec- 
essary to  accomplish  the  art  of  engraving.  To  those  of 
such  an  opinion  I  would  state  that  he  is  in  error;  it  is 
obviously  plain  to  the  student  who  is  desirous  of  doing 
work  accurately  that  by  acquainting  himself  with  the 
use  of  such  implements,  and  a  knowledge  of  such  draw- 
ings cannot  do  otherwise  than  place  him  in  a  position  to 
execute  his  work  accurately  and  being  able  to  prove 
such  accuracy  in  a  scientific  manner.  After  the  student 


IN    THEORY    AND    PRACTICE.  55 

has  become  an  expert  engraver  it  may  then  not  be  nec- 
essary to  use  such  tools  as  I  haye  here  described,  only 
when  doing  work  of  a  high  class,  but  if  the  student 
becomes  proficient  in  the  use  of  such  tools  he  is  starting  on 
the  right  road  to  success,  and  he  will  shortly  know  by 
comparison  with  the  work  of  those  who  deem  such 
accurate  method  of  procedure  inexpedient,  that  his  work 
is  far  more  symmetrical  and  the  reasons  for  such  accur- 
acy is  demonstrated. 

I  cannot  too  forcibly  impress  upon  the  mind  of  the 
student  the  necessity  of  using  all  methods  of  work  that 
will  accomplish  the  best  results,  and  that  I  may  at  this 
time  give  the  student  the  assurance  of  the  advisability 
of  following  such  lines,  I  wish  to  quote  from  that  noble 
and  honored  personage,  whom  all  Europe  admires  and 
loves,  and  whose  advice  cannot  be  otherwise  than  pre- 
eminent, I  give  the  following  from  the  pen  of  Mr.  Glad- 
stone in  his  advice  to  young  men : 

"  Be  sure  that  every  one  of  you  has  his  vocation  on 
this  earth  and  that  it  rests  with  himself  to  find  it.  Do 
not  believe  those  who  too  lightly  say,  k  Nothing  succeeds 
like  success.'  Effort,  honest,  manful,  humble  effort, 
succeeds  by  its  reflected  action,  especially  in  youth,  bet- 
ter than  success,  which  indeed,  too  easily  and  too  early 
gained,  not  seldom  serves  like  winning  the  throw  of 
dice,  to  blind  and  stupify.  Get  knowledge  all  you  can. 
Be  thorough  in  all  you  do,  and  remember  that  though 
ignorance  often  may  be  innocent,  pretension  is  always 
despicable.  But  you,  like  men,  be  strong  and  exercise 
your  strength.  Work  onward  and  upward,  and  may 
the  blessing  of  the  most  high  soothe  your  cares,  clear 
your  vision  and  crown  your  labors  with  reward." 


CHAPTER  XI. 

Engraving  the  lower  case  letters  of  the  script  alpha- 
bet is  not  considered  as  difficult  as  the  capitals;  however 
their  execution  requires  much  care  and  a  well  trained 
eye,  but,  supposing  the  student  to  have  thoroughly  prac- 
ticed and  mastered  the  capitals  he  will  not  find  this,  his 
second  journey  through  the  alphabet  as  perplexing  as 
the  first.  The  student  will  note  that  if  the  angles  of  the 
lower  case  letters  are  not  symmetrical  that  it  will  be  even 
more  noticeable  than  in  the  capitals,  therefore  the  rules 
as  cited  for  making  sure  their  exactness  must  be  strictly 
followed. 

The  proportional  size  of  the  letters  as  compared  with 
the  capitals  depends  entirely  upon  the  article  to  be 
engraved;  for  illustration,  when  engraving  inside  a  very 
small  ring,  the  capitals  would  be  much  smaller  in  propor- 
tion than  if  we  were  engraving  an  article  with  ample 
scope  for  the  initials  or  inscription.  After  some 
study  and  practice  the  student's  judgment  will  dictate  as 
to  the  size  and  proportions  of  letters  to  be  engraved  in 
a  given  space.  No  better  method  can  be  resorted  to 
to  form  an  idea  of  the  correct  proportions  of  letters  than 
a  careful  observance  of  the  work  by  a  good  engraver 
on  and  in  difficult  places.  This  observance  will  reveal  to 
the  scholar  the  fact  of  a  broad  variation  from  the  set 
rules  for  proportions,  and  this  deviation  is  demonstrative 
of  ability,  as  these  variations  must  be  made  in  order  that 
the  work  will  look  well  and  harmonize  with  the  shape 
and  space  to  be  engraved. 

When  we  have  ample  space  the  following  proportions 
are  used  by  most  engravers  and  will  be  found  the  best 

56 


IN   THEORY   AND    PRACTICE.  57 

for  the  student  to  practice  with.  Capitals  two  and  a 
quarter  degrees,  lower  case  6,  h,  k,  and  /  two  degrees,y, 
one  and  two-thirds  degrees,  d  and  /,  one  and  a  half 
degrees,  main  body  stroke  of  p,  one  and  a  quarter 
degrees  above  the  lower  guide  line.  They",  g,j,  g,  y  and 
z,  one  and  a  quarter  below  and  one  above,  main  stroke  of 
-p,  one  degree  below;  all  other  lower  case  letters  one 
degree  above  the  lower  guide  line.  The  lower  guide 
line  referred  to  is  not  the  one  at  the  end  of  the  letter, 
but  the  one  under  lower  case  a,  and  letters  of  the  same 
height. 

Referring  to  plate  12,  the  letter  a  is  engraved,  as  in 


PLATE  72 


all  other  letters,  by  cutting  the  main  shade  strokes  first ; 
place  the  graver  point  at  the  cross  line  A  and  cut  down 
to  B;  now  begin  at  C  and  cut  down  to  E;  next  reverse 
the  plate  and  cut  the  hair  lines  in  direction  of  the  arrows. 
It  would  be  well  for  the  student  not  to  practice  connect- 
ing the  letters  at  this  time;  wait  until  you  can  cut  them 
quite  well  separately  before  any  attempt  is  made  in  this 
direction.  When  engraving  the  letters  separately  the 
hair  line  at  the  right  of  the  lower  case  letters  should 
come  up  to  the  second  guide  line,  except  the  letter  s, 
from  which  letter,  when  ending  a  word,  should  be  minus 
the  hair  line  at  the  right,  the  same  ending  at  line  E 
shown  at  said  letter,  plate  13.  Letter  b  is  engraved  by 


58  MODERN  LETTER  ENGRAVING 

first  cutting  from  D  down  to  C;  from  C  to  E;  then,  pla- 
cing graver  at  the  point  where  hair  line  crosses  main 
body  stroke,  cut  up  to  center  of  loop  at  D.  Now 
beginning  at  E,  cut  hair  line  around  to  main  stroke  of  C. 
To  engrave  the  letter  c,  begin  at  K  and  cut  down  to  H; 
now  make  cut  at  the  right  of  the  loop  up  to  K,  same  as 
described  for  making  similar  cut  at  the  end  of  line  of 
beauty.  All  shade  strokes  are  made  by  one  cut  unless 
otherwise  mentioned.  The  letter  d  is  engraved  by 
beginning  at  F  and  cut  down  to  L;  next  begin  at  the 
top  and  cut  down  to  V;  the  top  is  squared  up  by  making 
the  extra  cut  formerly  described.  Hair  lines  are  cut  in 
their  regular  order,  beginning  at  the  left  and  cut  in  the 
direction  of  arrows.  The  e  is  engraved  by  beginning  at  S 
and  cut  down  to  W;  next,  the  line  up.  to  S;  then  the 
hair  lines  in  their  order.  Letter^"  is  engraved  by  begin- 
ning at  R  and  cut  down  to  the  end  of  main  stroke,  which 
stroke  is  squared  up  by  extra  cut;  next  cut  the  little  loop 
just  below  the  center  of  letter;  then  the  line  up  to  R. 
All  cuts  are  made  in  directions  of  the  arrows.  The  let- 
ter g  is  engraved  by  beginning  at  A  and  cut  down  to  E; 
then  place  the  graver  at  the  end  of  main  stroke,  and  as 
the  tool  is  pushed  forward  it  is  gradually  turned  up  to 
the  left  so  as  to  cut  a  fine  hair  line  just  below  the  first 
guide  line;  the  cut  is  continued  to  the  center  of  the  loop; 
now  cut  hair  lines  in  their  order,  being  very  sure  to  cut 
them  in  the  direction  of  the  arrows.  Letter  h  is 
engraved  by  beginning  at  the  center  of  loop  at  top  and 
cut  down  to  end  of  main  body  stroke,  which  is  squared 
up.  The  lower  half  of  the  next  or  right  shade  stroke 
should  be  cut  down  while  the  graver  and  plate  are  in 
the  position  as  when  the  graver  was  thrown  out  at  the 
bottom  of  the  main  body  stroke;  now  reverse  the  plate 


IN    THEORY    AND    PRACTICE.  59 

and  square  up  the  end  of  the  main  stroke  just  cut  down, 
and  while  the  plate  is  in  this  position  the  upper  half  of 
the  right  hand  shade  stroke  is  cut  up.  The  manner  of 
cutting  this  double  cut  has  been  described.  The  stroke 
forming  the  balance  of  the  loop  at  the  top  is  now  cut; 
the  hair  line  over  from  P  is  next  cut.  The  letter  i  is 
engraved  by  one  shade  stroke  down,  the  same  being 
squared  up  at  the  top.  Letter  j  is  engraved  according 
to  the  arrows,  and  has  been  described  for  engraving  the 
letter  g,  a  part  of  thrs  letter  being  the  same.  The  first 
part  of  the  letter  k  is  engraved  the  same  as  h,  the  shade 


at  the  right  of  main  stroke  is  a  double  cut,  same  as  in 
the  letter  h. 

Referring  to  plate  13,  engrave  the  letter  /  by  begin- 
ning at  the  center  of  loop  at  the  top  of  said  letter  and 
cut  down  to  B,  turning  the  graver  to  the  right  to  make 
the  necessary  shade;  bring  the  same  up  again  to  a  fine 
hair  line  and  throw  it  out  at  B;  cut  the  hair  lines  in  their 
order  and  according  to  the  arrows. 

The  letter  m  is  engraved  by  beginning  at  the  lower 
end  of  the  first  shade  stroke  and  cut  the  same  up  to  and 
throw  out  at  C;  next  cut  is  piade  in  a  like  manner;  the 
next  is  a  double  cut,  and  the  upper  half  of  same  is  now 
cut  up,  plate  reversed  and  lower  half  cut;  now  cut  the 
hair  line  from  C  down  to  B;  next,  the  hair  line  from  D 
over  to  where  it  meets  the  first  shade  stroke,  which 


6O  MODERN  LETTER  ENGRAVING 

should  be  about  two-thirds  the  distance  down;  next  cut 
the  hair  line  from  E  down,  same  as  one  just  cut. 

The  n  is  engraved  same  as  m,  leaving  off  the  first 
shade  stroke  of  m. 

The  o  is  engraved  by  beginning  at  center  of  loop  P 
and  cut  down  to  K;  next,  the  hair  line  up  to  P,  which 
hair  line  is  shaded  a  very  little  as  it  nears  the  upper 
guide  line  or  center  of  loop. 

The  p  is  engraved  bv  cutting  the  main  shade  stroke 
down  first,  same  being  squared  up  at  both  ends;  next,  and 
while  the  graver  and  article  being  engraved  are  in  posi- 
tion as  graver  was  thrown  out  at  end  of  stroke  just  cut, 
the  lower  half  of  the  next  shade  is  cut,  the  same  being 
a  double  cut;  now  square  up  the  top  end  of  main  stroke, 
reverse  plate  and  square  up  lower  end  and  cut  the  upper 
half  of  double  cut,  shade  up,  and  hair  lines  in  directions 
of  arrows. 

The  q  is  engraved,  or  embodies  same  cuts  as  g,  and 
the  student  needs  no  other  instructions  than  to  cut  in 
directions  of  arrows. 

The  shade  stroke  of  the  letter  r  is  cut  first;  next, 
the  hair  line  up,  and  as  it  approaches  the  upper  guide 
line,  the  graver  is  turned  to  the  right;  I  do  not  mean 
turned  over  to  the  right  but  that  the  handle  is  turned  to 
the  right,  so  as  to  change  the  course  of  the  line;  now  as 
the  graver  crosses  the  upper  guide  line,  raise  the  hand 
and  throw  the  point  of  graver  in  and  raise  same  up, 
breaking  the  chip  off.  This  little  cut  being  executed  in 
this  manner  will  cause  the  shade  to  expand  equally  to 
the  right  and  left  of  hair  line 

The  hair  line  of  the  letter  5  is  usually  engraved  first; 
next  cut  from  cross  line  R  up  to  where  the  two  lines 
meet,  which  should  always  be  at  the  upper  guide  line. 


IN    THEORY    AND    PRACTICE.  6 1 

The  shade  at  the  top  and  end  of  hair  line  is  made  same 
as  described  for  like  cut  in  r.  The  end  cut  E  is  same 
as  for  end  of  line  of  beauty. 

Letter  /  is  engraved  by  one  shade  stroke  down, 
same  being  squared  up  at  top  on  a  line  with  guide  line. 
Great  care  should  be  exercised  to  cut  the  shade  the 
same  width  all  the  way  down.  Hair  lines  are  cut  in 
direction  of  arrows  and  letter  crossed  with  a  fine  hair 
line. 


CHAPTER  XII. 

Referring  to  plate  14,  the  letter  U  is  engraved  by  first 
cutting  the  two  shades  strokes  down  the  same  being 
squared  at  the  top.  Now  cut  the  hair  lines  in  their  order ; 
the  hair  line  that  meets  the  letter  V  at  the  right  is  usu- 
ally cut  up,  but  as  here  shown  should  be  cut  down;  it  is 
also  cut  down  when  connecting  with  M,  N  or  Y.  In 
engraving  the  letter  V,  the  main  stroke,  which  is  a 
double  cut,  is  first  made  by  cutting  the  lower  half  down 
to  cross  line  P ;  now  reverse  plate  and  cut  from  center  of 


PLATE 


shade  up  to  E.  Next  cut  the  hair  line  from  E  down 
to  A;  now  hair  line  from  P  up  to  D;  thence  hair  line 
to  end,  which  would  be  where  said  line  meets  letter 
W  if  not  connected,  as  well  as  being  the  end  when 
connected. 

Letter  W  is  engraved  by  first  cutting  the  main  body 
strokes  down.  In  so  doing  begin  at  the  top  and  cut  down 
to  R;  now  begin  at  top  of  next  stroke  and  cut  down  to 
L.  The  tops  of  these  shade  strokes  are  squared  up,  the 
same  as  the  letters  /',  d,  t,  p  and  u. 

The  letter  X  is  engraved  by  first  cutting  the  main 
stroke;  the  same  being  a  double  cut  we  first  cut  the 
lower  half  down  to  S,  reverse  plate  and  cut  the  upper 

62 


IN    THEORY    AND    PRACTICE.  63 

half  up  to  E.  Now  cut  the  hair  lines  in  their  regular  order. 
The  little  shade  cut  at  each  end  of  the  cross  hair  line  is 
executed  same  as  similar  cut  at  the  end  of  line  of 
beauty. 

In  engraving  letter  Y  first  cut  the  lower  half  of  the  first 
shade  stroke,  the  same  being  a  double  cut  stroke.  Now 
begin  at  end  of  main  stroke  and  cut  down  to  the  center 
of  loop;  next  cut  the  hair  line  down  forming  balance 
of  loop;  reverse  plate  and  cut  the  upper  half  of  the 
double  cut  shade  up  to  E;  now  begin  at  E  and  cut  hair 
line  down  to  S;  next  make  little  cut  at  the  top  of  main 
stroke  to  square  same  on  a  line  with  the  upper  guide 
line;  now  cut  the  hair  line  from  D  up. 

Letter  Z  is  engraved  in  many  different  ways  and  styles. 
To  engrave  one  here  shown,  and  the  one  that  seems  to  be 
preferred  by  most  engravers,  we  first  cut  the  hair  line 
from  E  to  D;  next  the  top  shade  stroke  over  from  D. 
The  graver  is  thrown  out  at  the  end  of  shade  and  the  hair 
line  is  continued  according  to  the  requirements  necessary 
to  make  proper  connections  with  the  letter  preceding  it. 
Now  begin  at  center  of  the  lower  loop  and  cut  up,  throw- 
ing the  graver  out  as  it  reaches  the  hair  line  and  continue 
hair  line  to  center  of  loop  E. 

Now  that  we  have  completed  the  technical  instruc- 
tions for  the  formation  and  execution  of  the  script  alpha- 
bet I  trust  that  I  may  more  entertainingly  instruct  the 
reader,  but  before  passing  the  matters  now  under  con- 
sideration I  wish  to  say  that  if  you  are  not  sure  you 
understand  how  to  cut  each  letter  as  here  instructed, 
that  you  will  make  a  great  mistake  if  you  do  not  study 
and  practice  the  details  of  that  particular  letter  that 
troubles  you,  until  you  have  mastered  it,  before  entering 
upon  more  difficult  work.  A  very  little  practice  and  care- 


64  MODERN  LETTER  ENGRAVING 

ful  consideration  at  a  time  like  this  will  oe  worth  a  great 
deal  of  time  or  money  to  you  in  the  future.  Failing  to 
follow  this  advice  which  has  been  given  to  apprentices 
for  many  years  by  masters  of  the  art,  many  of  our 
young  men  have  failed  to  accomplish  that  which  in  their 
early  days  they  aspired  to,  while  those  who,  when  they 
find  a  difficult  problem  do  not  leave  it  until  they  have 
mastered  it,  are  to-day  in  the  ranks  of  our  most  success- 
ful business  and  professional  men.  With  your  graver  in 
hand  tand  your  plate  on  which  you  are  practicing  on  your 
pad  and  the  alphabet  and  instructions  for  engraving  same 
before  you,  follow  the  instructions  to  the  letter,  and:a  very 
little  earnest  work  will  surprise  you  in  sequel  and  that 
which  otherwise  would  be,  or  appear  to  you  to  be,  very 
perplexing,  would  be  but  a  few  hours  of  time  profitably 
and  entertainingly  spent.  Never  fail  to  refer  back  to  the 
illustrations  or  instructions  when  in  doubt;  such  refer- 
ence made  a  few  times  even,  when  necessary,  will  result 
in  mastery.  The  student  should  so  thoroughly  study 
his  instructions  that  he  can  remember  the  correct  man- 
ner of  engraving  each  letter  without  aid  of  instructions, 
but  as  before  mentioned,  never  fail  to  refer  back  when 
in  doubt. 

Having  learned  to  engrave  the  letters  of  the  alphabet 
separately,  we  now  find  that  we  are  indebted  to  our 
advancement  to  the  extent  of  consideration  of  the  man- 
ner of  designing  and  engraving  names.  Referring  to 
Plate  15  we  here  have  the  name  Henrietta.  At  Fig. 
i  the  name  is  designed  ready  for  engraving.  When 
engraving  a  name  like  this,  engravers  usually  cut  all  the 
down  strokes  first,  but  I  finish  the  capital  letter  first  and 
then  proceed  to  cut  all  the  downward  shade  strokes. 
First  engrave  the  letter  H,  then  cut  all  the  shade  strokes 


IN    THEORY    AND    PRACTICE.  65 

down  as  shown  at  Fig.  2.  Great  care  must  be  exercised 
to  make  all  the  cuts  on  same  angle  and  same  width.  Now 
reverse  the  plate  and  cut  the  first  shade  stroke  of  the 
letter  n  up  and  the  upper  half  of  the  second  shade  of  the 
same  letter.  Now  go  back  to  H  and  cut  hair  line  from 
said  letter  up  to  E;  now  the  loop  at  the  top  of  E;  reverse 
plate  and  cut  hair  line  down  from  top  of  n  to  bottom  of  e; 


next  the  other  hair  line  of  same  letter  down.  The  stu- 
dent will  please  note  that  these  lines  are  cut  down  while 
hair  lines  are  usually  cut  up;  the  reason  for  cutting  these 
lines  down  instead  of  up  is  that  a  curve  can  be  made 
more  easily  and  accurately  turning  to  the  right  than  by 
turning  to  the  left  and  it  is  much  easier,  and  by  far  more 
practical  to  commence  a  fine  hair  line  to  accurately  con- 
nect with  the  end  of  a  shade  stroke  by  executing  the 
lines  referred  to  in  this  manner.  Now  cut  hair  line  up 
forming  a  part  of  letter  r;  next  the  hair  line  up  to  /  from 


66  MODERN  LETTER  ENGRAVING 

bottom  of  r ;  next  cut  the  loop  at  the  top  of  e;  now  hair 
line  from  said  letter  up  to  /;  next  hairline  to  the  next  t; 
now  the  hair  line  to  a  and  the  hair  lines  finishing  the  letter 
a.  Now  finish  the  top  of  r  and  cross  the  letters  /  with  a  fine 
hair  line  half  way  from  the  upper  guide  line  to  the  top  of 
said  letters;  next  dot  the  letter  /,  which  is  done  by  holding 
the  graver  upon  an  angle  of  about  25  degrees  and  push 
same  directly  downward  very  lightly,  so  as  to  make  only 
a  very  small  dot;  the  graver  is  thrown  from  this  position 
the  same  as  when  engraving  letters  except  that  it  is  nec- 
essary to  give  the  tool  a  quicker  upward  movement. 
A  period  is  made  in  the  same  manner.  The  student  will 
note  that  the  lower  loop  at  the  left  of  the  letter  H  is 
left  off  when  said  letter  is  connected  with  other  let- 
ters. All  letters  ending  with  a  loop  of  this  kind  are 
treated  in  a  like  manner,  and  it  is  a  manifestation  of 
poor  art  judgment  not  to  do  so.  We  sometimes  see 
on  a  Swiss  watch  cap  a  name  engraved  in  this  way, 
i.  e.  leaving  the  loops  mentioned  on  letters  when  con- 
nected, and  the  same  is  noticeable  at  once  even  though 
the  work  have  been  done  with  much  skill.  Letters 
ending  with  a  loop  where  same  is  left  off  when  con- 
nected with  lower  case  letters  are  the  following:  A,  H, 
K,  L,  M,  R,  U,  X  and  Z. 

The  name  under  consideration  when  finished  will 
appear  as  shown  at  Fig.  3.  I  again  find  it  my  duty  to 
apologize  for  the  inaccuracy  of  these  illustrations,  hoping 
to  impress  upon  the  student's  mind  the  fact  that  if  the 
same  were  engraved  instead  of  etched  they  would  be  much 
more  accurate. 

The  reader  will  note  that  in  spacing  at  Fig.  3  the  letter 
r  is  closer  to  the  letter  n  than  the  first  letter  t  is  to  the  sec- 
ond one ;  the  reason  for  this  is  that  a  part  of  the  letter  r  is 


IN    THEORY    AND    PRACTICE.  6? 

a  hair  line,  while  in  the  other  letters  mentioned  the  hair 
lines  do  not  go  up  near  enough  to  the  upper  guide  line  to 
consider  same  in  spacing,  and  the  main  stroke  being  a 
heavy  bar  they  must  have  more  space  in  order  to  appear 
symmetrically.  The  same  difference  exists  and  same 
allowances  are  required  between  the  letters  e  and  /,  and  t 
and  a. 

The  student  will  comprehend  at  a  glance  when  design- 
ing, where  these  departures  from  what  would  be  by  some 
considered  logical  rules  for  spacing  are  required,  by  the 
example  here  given,  if  he  will  give  same  the  requisite 
deliberation  and  proper  application. 


CHAPTER  XIII. 

There  are  no  definite  rules  for  spacing  script  letters, 
but  we  can  form  some  idea  from  the  design  of  the 
name  Henrietta,  Plate  15,  they  should  be  so  arranged 
as  to  appear  symmetrically.  See  that  they  do  not  look 
crowded,  or  too  far  apart. 

In  engraving  initials  on  tea  spoons  of  the  many 
styles  and  shapes  that  are  now  made  and  come  to 
the  engraver  to  be  engraved,  is  a  matter  that  we 
should  very  carefully  consider.  Comprehend  at  a 
glance  the  difficult  and  irregular  space  and  advise 
your  customer  of  the  style  of  lettering  most  appro- 
priate, and  thus  enable  easy  and  satisfactory  execu- 
tion. Often  customers  want  three  initials  engraved 
where  one  would  look  much  better,  and  if  the  case 
is  explained  they  will  invariably  avail  themselves  of 
advice  given,  and  we  are  often  asked  to  engrave 
a  full  name  where  three  initials  would,  for  lack  of 
space  present  a  more  satisfactory  appearance,  all  these 
apparently  minor  details  are  of  vital  importance,  and 
the  young  artist  should  look  to  them  with  much 
care. 

In  the  beginning  of  these  articles  we  were  instructed 
how  to  design  on  metal  with  a  dead  or  satin  finish, 
and  were  to  later  consider  the  same  work  on  polished 
metals,  I  use  for  designing  on  polished  metals  the 
same  wax  used  for  transferring.  Some  engravers  only 
rub  their  fingers  through  their  hair  and  then  pat  the 
article  with  index  finger,  which  will  carry  enough 
oil  from  the  hair  to  deaden  the  high  polish  suffi- 
ciently to  permit  making  a  very  plain  design  through 


IN   THEORY    AND   PRACTICE.  69 


- 


same  with  rubber  marker,  but,  as  it  is  no  more 
trouble  to  use  the  wax  referred  to,  I  consider  it  best. 
The  ingredients  for  making  the  wax  above  referred 
to  are  as  follows:  Three  parts  beeswax,  three  parts 
tallow,  one  part  Canada  balsam,  and  one  part  olive  oil. 
Any  pharmacist  will  make  up  this  formula  for  a 
few  cents,  in  quantity  sufficient  to  last  many  years. 
If  found  too  soft,  more  wax  should  be  added,  if  too  hard 
add  more  oil.  A  glass  jar  about  two  inches  high  and 
one  and  a  half  inches  in  diameter,  with  a  metal  top 
screw  on  same,  which  your  druggist  will  furnish,  makes 
a  very  convenient  mode  of  keeping  the  wax.  On  all 


3 


Plate  it>. 

highly  polished  articles  this  wax  should  be  used,  and  is 
applied  by  putting  the  finger  on  wax  in  jar  and  apply- 
ing same  to  article  to  be  engraved  in  like  manner;  now 
if  a  piece  of  pegwood  is  sharpened  to  a  fine  point,  you 
will  be  able  to  sketch  through  the  wax  to  the  polished 
surface,  and  owing  to  the  contrast  between  wax  and  said 
surface,  the  sketching  will  be  nearly  as  plain  as  black 
on  white. 

A  hard  rubber  marker  is  far  better  than  the  peg- 
wood.  The  style  I  use,  and  the  best  that  has  come  to 
my  notice,  is  the  one  shown  in  Plate  16,  one  end  of 
which  is  steel,  and  same  is  very  valuable  to  the  engraver, 
which  valuation  will  be  considered  later. 

This  rubber  marker  is  known  as  "  Duplex  Tracer," 
cost  of  which,  including  a  very  useful  steel  straight 


7O  MODERN  LETTER  ENGRAVING 

edge,  is  only  fifty  cents,  and  no  engraver  can  afford  to 
do  without  one.  I  am  informed  that  the  material  houses 
do  not  handle  them,  but  the  maker,  Mr.  Adolph  Muehl- 
matt,  Cincinnati,  Ohio,  will  sell  them  at  retail.  The 
beginner  may  say,  I  can  do  with  ivory  or  peg  wood,  or 
even  a  lead  pencil  for  a  marker;  true,  but  never  do  with 
anything  but  the  best  when  it  is  a  matter  of  only  a  few 
cents,  or  you  may  soon  note,  from  proficiency  of  your 
neighbor's  work,  that  you  are  not  up  to  date,  either 
in  work  or  mode  of  and  tools  for  execution  of  same. 
Carefully  study  the  merits  of  the  new  things  and  avail 
yourself  of  their  advantages.  It  is  only  a  few  tools  that 
are  required,  and  the  wise  student  will  equip  him- 
self with  the  best.  There  are  many  tools  made  for 
engravers  of  which  I  do  not  approve,  and  I  will  only 
mention  those  that  I  know  from  experience  to  be  advan- 
tageous. • 

While  we  have  under  consideration  the  transfer 
wax,  used  as  a  designing  wax,  we  may  as  well  con- 
sider the  process  of  transferring  initials  or  a  name 
from  one  article  to  another.  We  will  suppose  a  cust- 
omer brings  to  us  a  dozen  teaspoons  to  be  engraved 
with  a  name.  We  first  engrave  the  name  on  one 
spoon;  now  we  want  all  the  others  exactly  the  same, 
and  in  same  location  as  on  said  spoon.  To  do  this 
take  a  small  quantity  of  the  wax  from  jar  on  point 
of  a  knife  and  put  same  on  name  engraved  and  with 
index  finger  rub  the  wax  in  the  incisions.  The  sur- 
face of  the  spoon  should  be  rubbed  off  as  clean  as 
possible,  avoiding  any  danger  of  rubbing  wax  out  of 
the  incisions.  Now  take  a  small  piece  of  good  writ- 
ing paper  and  moisten  same  by  placing  it  between 
the  lips;  now  place  this  piece  of  paper  so  dampened 


IN    THEORY    AND    PRACTICE.  7 1 

on  the  spoon  over  the  name,  using  some  point  on  the 
handle  for  a  guide  for  one  end  on  paper  and  allow 
the  edge  of  paper  to  be  placed  evenly  with  edge  of 
spoon  handle.  If  the  spoon  is  a  fancy  design,  similar 
to  Gorham's  "  Luxembourg "  pattern,  one  of  the 
scrolls  terminating  on  or  near  edge  of  said  spoon  can 
be  used  as  a  guide.  Now  place  a  dry  piece  of  paper 
over  the  wet  pne  and  holding  same  down  firmly  with 
thumb  and  index  finger  of  left  hand,  carefully  burnish 
(with  a  jeweler's  hand  burnisher),  being  very  cautious 
to  go  over  all  the  design.  This  operation  will  press 
the  dampened  paper  down  in  incisions  of  the  engrav- 
ing. Now  remove  the  dry  paper,  and  then  with  a 
point  of  a  knife  lift  up  one  end  of  the  wet  paper  and 
carefully  peel  same  off,  and  you  will  find  very  a  clear 
and  prominent  impression  of  the  engraving,  which  is 
capped  with  the  transfer  wax.  Now,  if  this  paper  is 
applied  to  all  the  other  spoons  the  same  as  the  first 
and  the  index  finger  very  gently  rubbed  over  same  to 
press  the  impression  down  on  the  surface  of  spoon, 
you  will  find,  by  lifting  up  impression  paper,  a  very 
clear  imprint  of  the  engraving  transferred  to  the  spoon. 
If  this  operation  is  carried  out  as  directed  and  with 
adequate  precaution,  you  will  find  no  difficulty  in 
making  one  or  two  dozen  impressions.  Impressions 
are  transferred  from  all  piec.es  of  jewelry  and  silver 
in  this  manner,  and  it  matters  not  what  the  design 
may  be.  Monograms,  crests,  coat  of  arms,  fancy  initials 
and  ornamental  engraving,  may  be  easily  transferred  in 
the  same  manner. 

For  articles  with  satin  finish,  as  is  found  on  large  pieces 
of  plated  ware,  the  impressions  can  be  made  more  clear 
by  adding  a  very  small  quantity  of  red  vermillion. 


72  MODERN  LETTER  ENGRAVING 

There  are  many  different  ways  of  taking  impressions, 
but  as  the  one  above  described  answers  all  purposes 
best  of  any,  to  my  knowledge,  and  same  being  very 
easily  applied  to  all  articles  that  the  engraver  has  to 
inscribe,  it  is  with  pleasure  that  I  recommend  same  to 
all  students  in  the  art. 


CHAPTER  XIV. 

One  thing  that  causes  the  beginner  much  trouble  in 
engraving  script  initials,  is  to  engrave  in  a  scroll  on  front 
case  of  a  small  watch.  He  may  be  able,  as  many 
engraver?  are,  to  only  engrave  this  style  of  letters,  or  if 
he  is  a  general  letter  engraver  he  may  be  asked,  as 
engravers  often  are,  to  engrave  script  initials  in  the 
space  above  mentioned.  The  reader  will  say,  if  a 
beginner,  I  must  engrave  the  letters  on  an  angle  of  45 
degrees,  and  small  enough  to  enable  me  to  design  the 
three  letters  in  the  space  given.  Not  so.  We  have 
now  arrived  at  a  stage  in  script  lettering  where  we  must 
depart  from  those  set  rules  for  executing  this  style. 
When  applied  to  articles  and  spaces  as  mentioned,  study 
and  consider  the  shape  and  scope  given,  design  and  so 
arrange  our  letters  to  correspond  with  such  scope  and 
shape.  For  illustration,  please  note  Fig.  i,  Plate  17, 
where  is  deliniated  a  scroll  similar  to  one  of  the  hun- 
dreds of  irregular  ones  that  are  engraved  or  stamped  on 
articles  that  come  to  the  engraver  to  be  inscribed.  We 
will  suppose  our  customer  wants  engraved  in  script  in 
the  space  the  initials  E.  F.  R.  It  will  be  readily  seen 
that  if  we  endeavor  to  design  the  letters  of  size  appro- 
priate to  size  of  space,  and  the  same  be  given  the  regu- 
lar angle,  we  would  scarcely  have  room  for  two  of  the 
letters,  consequently  the  only  remedy  is  to  design  the 
letters  nearly,  if  not  entirely  perpendicular.  This 
method  will  obviate  the  intricacy  above  referred  to,  and 
will  harmonize  with  space.  If  we  were  at  this  period 
a  monogram  engraver  we  would  no  doubt  advise  a 
monogram,  but  if  that  were  true,  it  is  probable  that  our 

71 


74  MODERN  LETTER  ENGRAVING 

» 

customer  would  want  the  initials  separate,  and  not 
entwined  in  a  monogram,  as  would  best  please  the  con- 
venience of  the  artist. 

Intelligent  and  earnest  consideration  of  the  space  in 
which  we  are  to  engrave  initials  or  a  name,  before 
operations  are  commenced,  are  of  vital  importance,  and 
the  sequel  of  this  forethought  will  be  that  we  please  our 
customer  and  find  our  work  executed  within  the  laws  of 
logic.  There  are  hundreds  of  irregular  spaces  that  I 
might  explain,  but  from  the  one  here  mentioned,  and  the 


PLAT £17 


.  2. 


comprehension  of  a  studious  pupil,  I  have  no  doubt  but 
that  the  correct  modifications  and  appropriate  applica- 
cations  of  the  shape  of  letters  now  under  consideration 
will  be  made  at  the  time  when  required.  There  are 
many  styles  of  entwining  script  capitals  in  odd  ways, 
including  hanging,  diagonal  forms,  which  we  will  con- 
consider  under  the  heads  of  ciphers  and  monograms. 

The  engraver  of  today  is  asked  to  inscribe  articles 
that  the  old  time  engraver  would  say  could  not  be  done, 
but  as  the  art  has  advanced,  and  competition  increased, 
the  masters  of  the  art  have  so  equipped  their  benches  as 
to  enable  them  to  engrave  any  article  that  comes  to  them, 
with  accuracy  and  precision.  At  Plate  18  are  shown 
some  of  the  tools  designed  for  executing  work  on  such 


IN    THEORY    AND    PRACTICE. 


75 


articles  as  referred  to  above.  At  Fig.  i  is  shown  the 
end  of  a  square  bent  graver.  This  graver  is  one  of  the 
most  useful  of  all  bent  tools;  it  will  be  found  invaluable 
for  engraving  inside  a  fruit  dish,  cake  dish,  trays  of  all 
descriptions,  and  in  fact  all  irregular  shaped  pieces 
where  the  place  to  -be  engraved  is  lower  than  surface  or 
border,  or  where  any  part  of  the  piece  extends  above 
plane  of  inscription.  Many  of  our  best  engravers  use  a 
straight  graver  for  engraving  inside  of  rings;  they  have 


by  long  experience  become  so  expert  that  they  can 
wield  the  tool  in  this  connection  with  dexterous  pre- 
cision. It  requires  much  more  time  to  learn  to  use  the 
straight  graver  for  this  purpose,  and  even  then  it  is  not 
practical  to  connect  the  letters  as  accurately,  if  on  the 
correct  angle,  as  it  would  be  if  we  use  the  graver  shown 
at  Fig.  i.  I  have  used  both.  I  first  learned  to  use  the 
straight  tool.  I  find  the  one  here  mentioned  much  more 
convenient;  the  work  can  be  done  easier  and  curves 
made  more  gracefully.  At  Fig.  2  we  have  deliniated 
the  bent  tool  as  it  would  appear  in  a  ring  ready  to  com- 
mence a  letter.  The  reader  will  note  that  the  graver  is 
so  bent  at,  or  near  the  end,  as  to  correspond  with  curve 


76  MODERN  LETTER  ENGRAVING 

of  the  ring,  and  will  therefore  comprehend  the  expedi- 
ency of  its  use  for  this  purpose,  and  a  trial  will  confirm 
the  same.  The  cardinal  difficulty  in  using  the  straight 
graver  is  that  in  making  curves  the  tool  will  strike 
edge  of  ring.  This  is  obviated  to  a  great  extent  by 
using  the  bent  tool.  At  Fig.  6  is  shown  another  style 
of  a  bent  graver  for  ring  work.  Some  engravers  use 
this  graver  exclusively,  but  I  can  only  recommend  it 
for  making  hair  lines  where  the  regular  tool  can  not 
make  a  perfect  connection  and  for  crossing  the  letter 
T  and  making  such  other  hair  lines  as  can  be  made 
with  it  advantageously. 

The  student  should  cut  all  the  letters  inside  the  ring 
with  the  graver  shown  at  Fig  i,  and  such  hair  lines  as 
he  can  not  make  connect  with  the  body  stroke  by  use  of 
said  graver,  he  will  find  he  can  bring  the  graver  shown 
at  Fig.  6  in  to  play  with  perfect  results.  In  making  the 
line  of  beauty  the  last  mentidned  graver  should  be  used 
for  cutting  said  line  down,  then  it  is  laid  down  and  not 
used  until  the  work  is  completed  as  far  as  can  be  with 
the  tool  shown  at  Fig.  i.  After  the  hair  line  of  beauty 
is  cut  down  with  graver  Fig.  6,  it  is  shaded  up  with 
graver  Fig.  i.  Some  names  will  not  require  the  use  of 
the  graver  bent  to  the  right,  but  in  most  capitals  it  is 
found  valuable  for  touching  up  or  connecting  up  hair 
lines.  At  Fig.  5  we  have  delineated  a  graver  bent  for 
work  down  in  a  bon  bon  dish,  bread  tray,  fruit  dish  or 
any  article  where  work  is  to  be  executed  in  a  deep 
indentation,  deeper  than  referred  to  for  graver  shown  at 
Fig.  i. 

At  Fig.  4  is  shown  a  straight  square  graver  cut  out 
on  the  under  side  nearly  to  the  point,  to  permit  its  use 
for  engraving  over  borders,  etc.  This  tool  will  be 


IN    THEORY    AND    PRACTICE.  77 

found  a  very  useful  one,  in  fact  quite  necessary  in  some 
classes  of  work,  it  can  be  used  for  engraving  inside  a 
watch  case,  and  is  used  by  some  engravers  for  inside 
ring  work.  For  small  silver  hair  pin  and  button  trays 
it  can  be  used  far  better  than  a  bent  tool,  as  it  permits 
engraving  closer  to  the  edges  than  a  bent  tool. 

At  Fig,  3  is  shown  the  well  known  bayonet  graver, 
same  is  used  for  such  work  as  mentioned  for  graver  at 
Fig.  4,  when  the  surface  to  be  engraved  is  so  deep  that 
said  tool  can  not  be  used,  it  is  also  used  for  engraving 
inside  the  bowl  of  spoons.  Such  a  tool,  made  square, 
flat  and  half  round  are  the  tools  used  for  engraving  all 
styles  of  letter  and  ornamental  work,  including  build- 
ings, inside  the  bowl  of  spoons.  With  a  tool  made  in 
this  shape,  ground  back  close  to  the  first  bend,  the 
beginner  will  find  he  can  use  it  for  purposes  mentioned 
as  dexterously  as  the  straight  tool  on  a  flat  surface. 

With  the  tools  above  ment:oned  the  student  will  find 
it  an  easy  matter  matter  to  engrave  script  letters  on  or 
in  any  article  that  may  come  to  him  to  be  engraved. 
The  instructions  given  for  preparing  the  straight  square 
tool  for  engraving  applies  to  those  here  mentioned, 
except  they  are  not  ground  on  the  under  side;  they 
should  be  whetted  perfectly  flat  on  the  under  sides, 
being  very  cautious  not  to  round  same  at  or  near  the 
end.  These  bent  tools  are  quite  difficult  to  hold  when 
whetting  and  polishing,  therefore  the  student  should  not 
be  discouraged  if  success  does  not  crown  his"first  efforts. 
Practice  will  make  perfect  in  this  case  as  well  as  in  all 
others,  and  after  using  bent  gravers  a  short  time  you 
can  put  it  in  order  as  quickly  and  easily  as  a  straight 
one.  Never  put  a  graver  up  until  it  is  in  perfect 
condition,  then  when  wanted  it  is  ready. 


CHAPTER  XV. 

The  engraver  of  a  few  years  ago  did  all  of  his  work 
on  a  sand  bag  pad,  and  was  content  with  his  equipment 
and  today  many  expert  engravers  cast  askance  glances 
at  some  of  the  many  labor  saving  and  convenient 
improvements  made  in  engraver's  tools  and  say  the  pad 
was  good  enough  twenty  years  ago,  and  it  will  answer 
just  as  well  now.  It  is  true  it  may  answer  his  purpose 
well  enough,  as  he  has  had  so  many  years'  experience 
that  he  could  cut  a  fine  monogram  by  holding  the  article 
in  his  hand,  but  he  could  not  do  it  as  quickly  nor  per- 
fectly as  he  could  should  he  use  the  pad,  and  he  would 
find,  should  he  investigate  the  merits  of  modern 
engraving  blocks,  and  avail  himself  of  their  advantages 
that  he  could  wield  the  tool  in  executing  the  work  much 
more  easily,  rapidly  and  accurately.  The  inventive 
minds  of  our  thinking  men  seem  to  have  deliberated  to 
some  extent  on  the  subject  of  a  device  for  holding  arti- 
cles while  being  engraved,  and  the  sequel  of  their  delib- 
erations and  experiments  is  a  most  perfect  article  for 
this  purpose,  covering  the  entire  scope  desired. 

At  Plate  19,  will  be  seen  the  Monarch  engraving 
block,  No.  i,  with  base  and  standard.  To  the  right  is 
shown  base,  standard  and  head  of  block  separated  from 
each  other;  the  figure  at  the  left  is  an  axial  section 
showing  said  parts  fitted  together  and  the  standard 
locked  to  the  base.  To  the  student  not  familiar  with  the 
many  valuable  features  of  a  block  of  this  kind,  I  would 
state  that  the  base  of  the  block  is  round  and  fits  into  a 
circular  pad  as  shown  at  Plate  21  to  enable  the  operator 
to  turn  the  head  of  block  to  right  or  left  at  any  desired 

78 


IN    THEORY    AND    PRACTICE. 


79 


angle,  thus  enabling  him  to  get  any  light  or  shade  on  the 
work  in  operation.  Polished  pieces  placed  in  a  block 
without  a  ball  base,  receive  the  light  so  it  is  quite 
impossible  to  see  a  sketch,  or  more  probable  an  impres- 
sion, and  it  is  therefore  necessary  for  the  engraver  to 
turn  his  head  to  the  right  or  left  to  obviate  this  diffi- 
culty with  a  block  that  turns  on  a  flat  base,  but  with 
the  ball  base  block  the  work  is  easily  turned  and 


Plate  iq 


Plate  20. 

adjusted  as  desired.  The  head  turns  on  a  pivot  extend- 
ing up  through  the  base;  the  same  is  adjusted  at  any 
height  by  a  key  which  operates  on  a  set  screw  hold- 
ing said  pivot  firmly  at  height  desired. 

Noting  the  axial  section  at  Plate  19,  the  reader  will 
observe  the  pin  d  locks  the  head  to  the  base,  said  pin  is 
raised  to  unlock  by  raising  the  slide  g,  which,  when 
turned  to  the  right,  allows  the  head  to  again  revolve  on 
pivot.  The  object  of  this  locking  device  is  obvious  to 
the  engraver.  It  may  be  well  to  state,  for  the  benefit 


8o 


MODERN  LETTER  ENGKAVING 


of  the  pupil,  that  in  some  classes  of  work  where  same 
is  ornamented  by  the  chasing  tool  it  is  quite  necessary 
that  the  article  be  held  firmly.  The  locking  and 
unlocking  is  done  so  quickly  that  the  device  can  not  do 
otherwise  than  commend  itself  to  the  craft.  It  is  also 
very  useful  in  die  cutting  and  other  classes  of  engraving. 


Plate  si. 

Plate  21  shows  the  Monarch  No.  2  and  Plate  22  the 
attachments.  Plate  23  shows  the  Monarch  No.  i, 
which  has  some  modifications  in  shape  and  other 
features.  So  completely  does  the  cut  illustrate  the 
value  of  said  block  that  any  comment  on  it  would  seem 
unnecessary.  I  may  add,  however,  that  with  this  block 
all  articles  that  can  be  engraved  in  a  block  can  be  held 


IN    THEORY    AND    PRACTICE. 


8l 


firmly  by  the  aid  of  the  attachments.  The  young 
engraver  will  find  many  small  articles  that  owing  to  their 
size,  shape,  or  thickness,  or  from  the  fact  that  they 
are  enamelled,  have  to  be  cemented  on  a  small  block  of 
wood  or  piece  of  brass.  Such  cement  blocks  are  placed 
in  the  head  of  the  block,  a  large  hole  under  the  carriage 
for  pins  being  made  expressly  for  this  purpose.  The 


Plate  22. 

cement  block  has  a  large  pivot  made  to  fit  said  hole,  and 
the  center  key  square  is  to  hold  same  in  place  as  it  docs 
pin  carriage  shown  in  our  illustration.  No  pupil  anxious 
to  excel  or  even  master  in  the  art,  should  try  to  do  his 
work  with  a  cheap  block.  The  best  blocks  have  been 
reduced  in  price  within  the  reach  of  all.  There  are  several 
blocks  made  that  are,  as  they  manifest  themselves  to  us, 
models  of  perfection,  and  as  we  proceed  we  will  illus- 


82  MODERN  LETTER  ENGRAVING 

trate  the  points  of  valuation  and  improvement  of  same 
and  briefly  consider  them.  Any  material  house  will  fur- 
nish the  student  with  a  pound  cake  of  cement  for 
engravers'  use  for  twenty-five  cents.  If  we  have  a 
gold  watch  cap  to  engrave,  \ve  remove  same  from  case, 
turn  convex  sid$  down,  and  with  a  little  oil  thinly  coat 
the  concave  side;  now  with  alcohol  lamp  heat  cake  of 
cement  and  run  enough  of  same  in  case  to  fill  it;  let  it 
cool.  Then  having  coated  our  cement  block,  size  of  one 
above  mentioned,  or  one  same  diameter  as  case  (it  is  a 
capital  idea  to  have  all  sizes  on  hand)  which  size  can  be 
held  with  pins  on  the  carriage  or  between  the  carriage 
jaws,  if  one  of  brass,  such  as  are  furnished  with  some 
blocks.  Now  heat  the  cement  on  both  pieces  and  press 
together.  We  oil  the  cap,  as  above  mentioned,  so  the 
wax  will  remove  easier.  After  the  engraving  is  com- 
plete, we  should  evade  all  danger  of  scratching  the  case, 
assuming  same  to  be  devoid  of  any  such  traces  of  "would- 
be-workman;"  we  heat  the  cap  a  very  little  and  it  will 
drop  off  the  block.  Should,  however,  any  cement 
remain,  it  is  easily  removed  by  boiling  in  water  to  which 
is  added  a  small  quantity  of  pulverized  borax  or  alcohol 
alone  can  be  used  in  like  manner. 

The  cap  is  now  polished  a  very  little,  and  the  work  is 
complete.  Should  for  any  reason  the  case  become 
scratched  or  marred,  the  polishing  requisite  necessarily 
becomes  enhanced,  and  it  is  best  in  such  sad  cases  to  do 
the  polishing  when  on  cement  block.  Engravers  often 
have  enamelled  tea  spoons  to  engrave.  Such  spoons 
are  held  on  the  pad  turn  table  formerly  described.  The 
enamel  being  very  brittle,  it  would  be  very  hazardous 
to  place  one  in  a  block  unless  cemented;  that  would 
entail  some  work,  and  unless  the  amount  of  work  to  be 


IN    THEORY    AND    PRACTICE.  83 

executed  is  more  than  ordinary  the  expediency  of  the 
former  mode  is  manifest.  The  engraver  is  often  called 
upon  to  engrave  a  monogram  on  the  outside  of  a  flat 
band  ring.  The  engraving  blocks  herein  mentioned 
have  a  very  practical  device  for  holding  rings  for  such 

fog- 
ing 


ime 
ake 

3  to  be  usetl  on 

engraving  bk  oeMent 

ready  for  use.  Included  in  box  of  attachments  accom- 
panying all  the  best  engraving  blocks  will  be  found  an 
attachment  for  holding  collar  and  cuff  buttons  which  is 
practical,  and  the  work  is  adjusted  in  a  few  seconds. 


82 


MODERN  LETTER  ENGRAVING 


trate  the  points  of  valuation  and  improvement  of  same 
and  briefly  consider  them.  Any  material  house  will  fur- 
nish the  student  with  a  pound  cake  of  cement  for 
engravers'  use  for  twenty-five  cents.  If  we  have  a 

orolrl   A»'c>tch  Cap  t6  engrave     "-pv    r^mnvp  <5am^  from   rne^ 

turn  convex  sid$  down,  and    with  a  little  oil  th, 
tV      concave  side;  now  with  alcohol  lamp  heat  cake  of 
cement  and  run  enough  e  in  case  to  fill  it;  let  it 

c<    ].     Then  having  nt  block,  size  of  one 

al  .is  case        is  a 

c;  c  can  be 

h  [jr  between  the  carriage 

ished  with  some 
es  and  press 
ned,  so  the 
ng  is  com- 
ig  the  case, 
of  "would- 
e  and  it  will 
any    cement 
aler  to  which 


jc  .-,  SUt 

blocks.     Now  1 

together. 

wax  will  rein 

plete,  we  should  . 

assuming  same  to  be  dj 

be-workman 

drop    off    the    block. 

n        in,  it  is  easil 

ie      ided  a  small  quantity 

alone  can  be  used  in  like 

The  cap  is  now  polished  a  very  little,  and  the  work  is 
complete.  .id    for    any    reason    the    case    become 

scratch*. •.  1,  the  p<>'  sisite  necessarily 

becomes  enh -\  ;i  sad  cases  to  do 

t!  rs  often 

have  enamelled  tea  spoons  to  engrave.  Such  spoons 
are  held  on  the  pad'turn  table  formerly  described.  The 
enamel  being  very  brittle,  it  would  be  very  hazardous 
to  place  one  in  a  block  unless  cemented;  that  would 
entail  some  work,  and  unless  the  amount  of  work  to  be 


IN   THEORY    AND    PRACTICE.  83 

executed  is  more  than  ordinary  the  expediency  of  the 
former  mode  is  manifest.  The  engraver  is  often  called 
upon  to  engrave  a  monogram  on  the  outside  of  a  flat 
band  ring.  The  engraving  blocks  herein  mentioned 
have  a  very  practical  device  for  holding  rings  for  such 
work,  thereby  avoiding  the  necessity  of  cementing. 
All  engraving  inside  of  rings  should  be  done  by  holding 


Plate  83. 

ring  between  thumb  and  index  finger,  holding  same 
down  firmly  on  the  pad.  The  engraver  should  make 
several  sizes  and  shapes  of  cement  blocks  to  be  used  on 
engraving  block  and  have  same  mounted  with  cement 
ready  for  use.  Included  in  box  of  attachments  accom- 
panying all  the  best  engraving  blocks  will  be  found  an 
attachment  for  holding  collar  and  cuff  buttons  which  is 
practical,  and  the  work  is  adjusted  in  a  few  seconds. 


84  MODERN  LETTER  ENGRAVING 

Other  small  articles,  such  as  pegs,  round,  concave  and 
triangle  shape,  included  in  attachments,  will  be  found 
useful  for  holding  hundreds  of  articles  not  necessary  to 
cement. 

The  round  head  pegs  are  used  on  Monarch  blocks  for 
holding  spoons.  Another  manner  of  holding  spoons  is 
used  on  a  block  to  be  mentioned  and  illustrated  in  a  sub- 
sequent article. 

After  engraving  a  spoon,  or  any  polished  article,  it  is 
wiped  off  with  a  soft  chamois  or  a  towel.  In  many 
cases  it  is  not  necessary  to  polish  such  article  at  all, 
wiping  off  the  wax  as  mentioned  will  suffice.  Should 
the  beginner  do  any  polishing  it  must  be  remembered 
that  as  little  as  possible  be  done,  and  that  very  lightly. 
Too  much  polishing  will  make  the  sharp  cuts  appear 
rounding  and  destroy  the  effect  of  the  work. 


CHAPTER  XVI. 

Designing  and  engraving  Roman  letters  is  considered 
quite  difficult  by  most  engravers.  The  reason  for  thib 
opinion  is  due,  no  doubt,  to  the  fact  that  they  do  so  lit- 
tle of  this  class  of  lettering  that  they  are  not  familiar 
with  the  formation,  spacing  and  manner  of  cutting  them. 
Roman  letters  are  easily  executed  by  the  engraver  that 
has  occasion  to  use  them  to  any  extent.  The  student 
will  find  this  style  of  letter  in  any  good  text  book. 
Engravers  as  well  as  students  in  the  art  are  very  observ- 
ing of  good  specimens  of  lettering,  but  when  notice  has 
been  made  of  such  specimens  and  the  style  is  of  Roman 
or  a  similar  style,  and  the  same  was  from  type,  it  will 
be  noticed  that  the  spacing  is  dissimilar  to  what  the 
the  engraver  would  consider  correct,  especially  notice- 
able when  the  letter  T  and  A  or  A  and  V  are  together. 
It  is  necessary  that  this  should  be  so  when  said  letters 
are  printed  from  type.  It  will  be  noticed  that  the  spacing 
will  appear,  and  in  fact  is  greater  than  the  sign  painter  or 
engraver  would  allow.  The  necessity  of  this  irregular 
spacing  will  be  understood  when  we  understand  that 
such  letters  are  set  up  on  a  little  block,  each  block  con- 
taining a  letter.  A  type  letter  A  and  V,  are  mounted 
on  blocks  of  nearly  same  width,  and  must  be  so  mounted, 
as  each  letter  is  nearly  same  width,  but  from  the  fact  of 
one  letter  being  wider  at  the  top  and  the  other  the 
reverse,  would  indicate  the  fact  that  the  space  between 
the  two  shades  or  body  strokes  would  be  greater  than 
would  be  allowed  could  it  be  obviated. 

In  engraving  we  can  space  our  letters  as  they  should 
be,  not  having  the  above  difficulties  to  contend  with. 


86 


MODERN  LETTER.  ENGRAVING 


If  the  reader  will  notice  the  word  engraving  printed 
from  type  in  capital  Roman  letters,  (capital  letters  are 
the  letters  referred  to  above),  he  will  observe  that  the 
letter  A  and  V  are  given  more  space  between  them  than 
any  of  the  other  letters;  the  necessity  of  same  is  obvious 


Fi/.8.       Fig  '«?. 


Plate  24. 

from  the  above  explanation.  If  we  were  to  engrave 
this  word  we  would  sketch  these  letters  so  they  would 
appear,  when  cut,  as  shown  at  Fig.  i,  Plate  24.  At  Fig. 
2  we  show  the  same  letters  as  they  would  appear  from 
type.  The  dotted  delineations  at  Fig.  2  indicate  the 
block  on  which  letters  are  mounted.  The  letters  shown 
at  Figs,  i  and  2  are  made  as  they  would  be  if  to  be 
engraved  large  size  by  swelling  the  heavy  bars  at  the 
top  and  bottom,  but  if  we  were  engraving  Roman  let- 
ters very  small  we  would  add  hair  lines  at  the  top  and 


IN    THEORY    AND    PRACTICE.  87 

bottom,  as  shown  at  Fig.  3.  These  hair  lines  are  cut 
by  beginning  on  the  bar  and  cutting  in  each  direction. 
It  would  not  be  practical  to  make  said  hair  line  by  one 
cut,  as  the  end,  where  the  graver  was  inserted,  would  be 
pointed,  while  the  end  where  the  tool  was  thrown  out 
would  be  blunt.  The  latter  being  required  we  must 
proceed  as  mentioned. 

To  make  the  shade  strokes  or  bar  swell  at  top  and 
bottom,  we  show  a  grotesque  shape  of  such  stroke  at  Fig. 
4,  and  as  there  delineated  and  exemplified  by  arrows, 
the  cuts  D  and  A  are  cut  in  direction  of  said  arrows; 
the  dotted  lines  show  where  the  next  cut  will  locate. 
This  swell  of  the  bar  in  question  can  be  enhanced  or 
extenuated  by  the  width  and  angle  of  cuts  D  and  A. 
These  cuts  are  similar  to  the  cut  we  use  to  square  up 
the  top  of  letter  I  and  T  in  script  engraving.  Great 
care  must  be  exercised  to  make  these  cuts  accurately 
meet,  and  same  must  be  cut  on  the  guide  line.  Some 
engravers  use  another  method  of  making  this  swell,  but 
as  the  one  here  mentioned  is  considered  best,  and  in 
view  of  the  fact  that  the  mode  referred  to  will  be 
applied  to  block  letters  for  a  like  purpose,  we  will  not 
mention  it  at  at  this  period. 

In  designing  letters,  and  more  particularly  the  style 
now  under  consideration,  we  space  off  in  the  scope  in 
which  the  word  or  words  are  to  be  engraved,  by  making 
small  dots  on  or  directly  under  the  lower  guide  line, 
allowing  sufficient  space  for  each  letter  between  each  dot. 
If  after  so  spacing  we  find  we  have  not  made  the  right 
calculations  it  is  an  easy  matter  to  allow  more  or  less 
space  as  may  be  required,  and  space  it  again,  but  a  little 
practice  is  all  that  is  required  to  be  sanguine  of  correct 
results  the  first  time.  The  bar  of  Roman  letters  is  cut 


88  MODERN  LETTER  ENGRAVING 

in  many  different  styles.  The  first  for  us  to  consider  is 
the  one  cut  with  a  flat  bottom  graver.  An  end  view  of 
such  graver  is  shown  at  Fig.  5,  Plate  24;  a  side  view  of 
same  is  shown  at  B,  showing  the  tool  after  it  is  sharp- 
ened and  ready  for  use.  The  reader  will  please  notice 
that  the  front  or  end  of  graver  is  ground  with  two  angles, 
the  second  angle  being  to  lessen  the  amount  of  whet- 
ting necessary  to  sharpen  the  cutting  edge.  It  will  be 
noticed  that  should  we  grind  the  graver  off  the  entire 
width  on  an  angle  of  45  degrees,  as  shown  from  D  to 
E,  Fig.  6,  it  would  be  necessary  to  whet  the  scope  of 
metal  from  D  to  E,  while  if  when  putting  tools  in  order 
we  grind  off  the  metal  from  R  to  E,  as  delineated  by 
dotted  lines,  Fig.  6,  it  would  only  be  necessary  to  whet 
the  metal  from  D  to  R,  and  at  same  time  we  will  have  a 
much  more  graceful  point  and  one  that  represents  many 
points  of  advantage  in  certain  classes  of  work  that  will 
come  to  the  engraver.  The  flat  bottom  graver  is  not 
ground  off  on  the  bottom  to  raise  the  angle  of  same  for 
convenience  of  the  operator's  hand  on  very  small  tools, 
such  as  we  would  use  for  a  watch  case,  but  the  rule  for 
such  grinding  applies  to  flat  bottom  tools,  same  as  men- 
tioned for  the  square  graver.  The  graver  should  be 
ground  to  suit  the  work  required  of  it;  for  illustration, 
if  we  have  a  large  tray  to  engrave,  the  graver  should 
be  ground  off  on  the  under  side  sufficient  to  permit  the 
operator's  hand  to  gracefully  grasp  it  and  glide  over  the 
metal. 

The  proportions  of  Roman  and  block  letters  are  a  very 
important  item,  and  yet  one  quite  difficult  to  elucidate 
with  a  pen,  but  I  think  if  we  consider  the  proportional 
sizes  of  these  letters  on  a  scale  of  an  inch  high,  the  stu- 
dent will  be  able  to  reduce  them  proportionally.  If  we 


IN    THEORY    AND    PRACTICE. 


89 


I  \ 


design  our  letters,  for  example,  one  inch  high,  the  let- 
ters B,  F,  D,  O,  G,  P,  Q  and  T,  will  occupy  a  one  inch 
,  while  A,  H,  K,  N,  R,  U,  V,  X  and  Y, 
space  one-sixteenth  of  an  inch  wider,  and 
and  Z,  one-sixteenth  narrower  than  an  inch 
md  W  will  occupy  a  space  on  scale  men- 
one  and  three-sixteenths  of  an  inch.  The 
Id  occupy  a  one-half  square. 
|of  letters  above  mentioned  is  about  four 
fe  that  a  general  letter  engraver  would  have 
For  cutting  the  bar  of  Roman  letters,  if  on 
silver  wTtrTsatin  finish,  the  best  effect  is  obtained  from  a 
graver.  If  we  are  cutting  block  letters,  a  very 
effect  is  obtained  by  first  wriggling.  By  wrig- 
student  is  to  understand  that  the  flat  bottom 
held  in  the  hand  so  as  to  cut  the  bar,  except 
"lot  on  as  much  angle,  and  as  it  is  pushed 
•ently,  it  is  very  carefully  and  accurately  turned 
id  left,  or  in  other  words  is  given  a  rocking 
Wriggling  is  beautiful  if  well  executed  and 
properly.  After  wriggling  the  letters  above 
led,  a  bright  cut  is  made  on  the  lower  right  side 
i  letter;  the  width  of  this  shade  varies  according 
artist's  judgment  or  the  requirements,  and  is 
ith  a  flat  bottom  tool,  highly  polished,  and  at  least 
rd  wider  than  the  cut  to  be  made.  Wriggling 
done  with  any  flat  or  round  bottom  tool,  and  the 
fineness  of  the  wriggling  is  governed  by  the  angle  on 
which  it  is  held  and  the  force  with  which  it  is  pushed 
forward.  At  Figs.  7,  8  and  9,  we  show  wriggling  of 
different  degrees  of  fineness,  all  executed  the  with  same 
graver;  changing  the  angle  of  the  tool  in  operation 
makes  the  lines  appear  finer  or  coarser.  By  raising  the 


88  MODERN  LETTER  ENGRAVING 

in  many  different  styles.     The  first  for  us  to  consider  is 

the  one  cut  with  a  flat  bottom  graver.     An  end  view  of 

such  graver  is  shown  at  Fig.  5,  Plate  24;  a 

same  is  shown  at  B,  showing  the  tool  after 

ened  and  ready  for  use.     The  reader  will  p] 

that  the  front  or  end  of  graver  is  ground  with] 

the  second  angle  being  to  lessen  the   amoui 

ting  necessary  to  sharpen  the  cutting  edge. 

noticed  that  should  we  grind  the   graver  off] 

width  on  an  angle  of  45  degrees,  as   shown 

E,  Fig.  6,  it  would  be  necessary  to  whet  the] 

metal  from  D  to  E,  while  if  when  putting  tools  in  order 

we  grind  off  the  metal  from   R  to   E,  as  delineated  by 

dotted  lines,  Fig.  6,  it  would  only  be  necessa 

the  metal  from  D  to  R,  and  at  same  time  we  ' 

much  more  graceful  point  and  one  that  repres 

points  of  advantage  in  certain  classes  of  worl 

come  to  the  engraver.     The  flat  bottom  gra 

ground  off  on  the  bottom  to  raise  the  angle  oi 

convenience  of  the  operator's  hand  on  very  s 

such  as  we  would  use  for  a  watch  case,  but  th .„. 

such  grinding  applies  to  flat  bottom  tools,  same  as  men- 
tioned for  the  square  graver.  The  graver  sh 
ground  to  suit  the  work  required  of  it;  for  illut 
if  we  have  a  large  tray  to  engrave,  the  graver 
be  ground  off  on  the  under  side  sufficient  to  per 
operator's  hand  to  gracefully  grasp  it  and  glide  c 
metal. 

The  proportions  of  Roman  and  block  letters  an 
important  item,  and  yet  one    quite   difficult  to  e 
with  a  pen,  but  I  think  if  we  consider  the   proportional 
sizes  of  these  letters  on  a  scale  of  an  inch  high,  the  stu- 
dent will  be  able  to  reduce  them  proportionally.     If  we 


IN    THEORY    AND   PRACTICE.  89 

design  our  letters,  for  example,  one  inch  high,  the  let- 
ters B,  F,  D,  O,  G,  P,  Q  and  T,  will  occupy  a  one  inch 
square  space,  while  A,  H,  K,  N,  R,  U,  V,  X  and  Y, 
will  occupy  a  space  one-sixteenth  of  an  inch  wider,  and 
C,  F,  J,  L,  S  and  Z,  one-sixteenth  narrower  than  an  inch 
square.  M  and  W  will  occupy  a  space  on  scale  men- 
tioned above,  one  and  three-sixteenths  of  an  inch.  The 
letter  I  should  occupy  a  one-half  square. 

The  size  of  letters  above  mentioned  is  about  four 
times  the  size  that  a  general  letter  engraver  would  have 
to  engrave.  For  cutting  the  bar  of  Roman  letters,  if  on 
silver  with  satin  finish,  the  best  effect  is  obtained  from  a 
,  polished  graver.  If  we  are  cutting  block  letters,  a  very 
beautiful  effect  is  obtained  by  first  wriggling.  By  wrig- 
gling the  student  is  to  understand  that  the  flat  bottom 
graver  is  held  in  the  hand  so  as  to  cut  the  bar,  except 
possibly  not  on  as  much  angle,  and  as  it  is  pushed 
forward  gently,  it  is  very  carefully  and  accurately  turned 
to  right  and  left,  or  in  other  words  is  given  a  rocking 
motion.  Wriggling  is  beautiful  if  well  executed  and 
applied  properly.  After  wriggling  the  letters  above 
mentioned,  a  bright  cut  is  made  on  the  lower  right  side 
of  each  letter;  the  width  of  this  shade  varies  according 
to  the  artist's  judgment  or  the  requirements,  and  is 
done  with  a  flat  bottom  tool,  highly  polished,  and  at  least 
one-third  wider  than  the  cut  to  be  made.  Wriggling 
can  be  done  with  any  flat  or  round  bottom  tool,  and  the 
fineness  of  the  wriggling  is  governed  by  the  angle  on 
which  it  is  held  and  the  force  with  which  it  is  pushed 
forward.  At  Figs.  7,  8  and  9,  we  show  wriggling  of 
different  degrees  of  fineness,  all  executed  the  with  same 
graver;  changing  the  angle  of  the  tool  in  operation 
makes  the  lines  appear  finer  or  coarser.  By  raising  the 


90  MODERN  LETTER  ENGRAVING 

hand  up  and  turning  or  rolling  the  tool  right  and  left, 
quickly  and  gently,  the  fine  work  is  done,  and  as  the  hand 
is  lowered  and  turned  to  the  right  and  left  a  little  farther 
the  wriggling  becomes  coarser.  The  student  should 
practice  a  great  deal  at  this  class  of  work,  as  it  is  very 
useful  if  well  done,  but  if  executed  poorly  is  one  of  the 
most  abominable  manifestations  of  sin  applied  to  engrav- 
ing. The  graver  should  be  rocked  evenly  and  the  pres- 
sure forward  should  be  kept  the  same,  thus  assuring 
evenness  of  the  wriggling. 

When  wriggling  with  a  half  round  graver,  the  incis- 
ion is  first  cut  with  the  same  graver  that  the  wriggling 
is  to  be  done  with,  thus  making  easy  the  accuracy  of 
wriggling.  It  is  not  necessary  to  do  so  with  the  flat  tool, 
but  in  letter  engraving  it  is  often  done,  to  sink  the  work 
so  deeply  that  it  will  not  be  subjected  to  wear.  The 
heavy  bars  of  Roman  letters  are  wriggled  with  good 
effect  if  on  polished  metal  and  the  wriggling  is  very  fine. 

Roman,  block,  and  gothic  letters  are  very  effectively 
executed  on  metals  having  a  satin  finish  by  cutting 
them  with  a  flat  bottom  tool  that  is  perfectly  polished. 

Gothic  letters  (commonly  known  as  block)  are  very 
much  improved  by  squaring  up  the  beginning  and  end- 
ing of  each  letter  with  a  flat  bottom  graver  a  very 
little  larger  than  the  one  used  to  cut  the  letter.  To 
execute  this  cut  we  use  the  graver  nearly  the  same  as 
we  do  the  square  graver  to  square  up  the  top  of  a  script 
letter  i  or  t,  except  that  we  begin  the  cut  a  little  to  the 
left  of  the  bar  to  be  squared  and  push  it  forward  so  as 
to  make  it  lap  over  on  the  other  side  of  the  bar  exactly 
the  same  as  it  does  on  the  other  side  where  we  begin. 
By  following  this  method  we  square  the  ends  of  the 
letter,  giving  the  bar  a  swelled  appearance,  and  all  is 


IN    THEORY    AND    PRACTICE.  9! 

done  with  one  cut.  It  is,  of  course,  not  necessary  to 
add  this  cut  to  the  gothic  or  block  letters,  it  being 
optional  with  the  engraver;  by  adding  it  we  make  in 
one  sense  another  style  of  letter.  Should  we  wriggle 
the  letter  first  and  then  bright  cut  it  the  letter  could 
then  be  squared  up  in  a  like  manner. 


CHAPTER  XVII.  - 

There  are  many  styles  of  block  letters,  all  of  which 
are  of  the  same  general  form,  and  the  rules  governing 
the  manner  of  cutting  any  one  of  the  styles  referred  to 
will  answer  largely  for  all.  Block  letters,  as  well  as 
Roman,  are  shaped  to  conform  to  the  shape  and  size  of 
article  to  be  engraved.  The  proportions  of  block  or 
gothic  letters  are  the  same  as  Roman.  Either  style  of 
letter  presents  the  most  artistic  appearance  if  designed 
(if  the  letter  for  illustration  be  R,  B,  D,  or  any  letter 
of  same  dimensions)  same  width  as  height,  or,  in  other 
words,  perfectly  square.  At  Figs,  i,  2  and  3,  Plate  25, 
is  shown  the  letter  B,  designed  on  this  scale  in  Roman, 
gothic  and  block  styles. 

The  letter  B,  shown  at  Fig.  i,  is  to  represent  the  let- 
ter either  bright  cut  or  cut  out  with  fine  hair  lines 
laid  very  closely  together.  To  more  fully  explain,  we 
show  at  Fig.  4  the  letter  D,  with  the  lines  separated  so 
as  to  leave  enough  surface  to  give  the  reader  an  idea 
of  the  style  of  cutting.  The  lines  are  to  be  cut  so 
closely  that  the  surface  will  be  entirely  cut  away. 
The  effect  of  work  executed  in  this  manner  is  very 
beautiful  if  accurately  done,  and  should  be  engraved 
with  a  square  graver,  as  it  comes  from  the  oil  stone, 
when  engraving  on  polished  metals.  Many  beautiful 
specimens  of  work  done  in  this  manner  will  be  seen  on 
watch  caps  and  polished  silver  prize  cups.  This  style 
of  cutting  is  applicable  to  Roman,  block,  both  plain  and 
fancy,  old  English,  German  text,  and  other  fancy  letters, 
but  the  student  must  bear  in  mind  that  letters  of  what- 
soever style  cut  with  the  fine  lines  must  be  executed 


IN    THEORY   AND   PRACTICE.  93 

very  accurately.     Avoid  one  line  running  into  another 
and  cut  all  same  width. 

To  engrave  the  letter  B  of  the  Roman  style  (we  use 
this  letter  as  its  form  covers  the  necessary  strokes  and 
curves  to  answer  for  other  letters  of  the  alphabet),  we 
select  a  fiat  bottom  graver  of  the  same  width  as  the 
body  stroke  of  the  letter  we  wish  to  engrave.  The 
body  stroke  of  the  letter  B  is  first  cut;  the  balance  of 
the  letter  can  be  engraved  with  same  tool,  but  most 
engravers  use  the  square  tool,  as  it  can  be  used  more 
advantageously.  Now  place  the  point  of  the  last  men- 
tioned tool  at  C,  and  cut  a  hair  line  out  until  the  turn 
upward  is  made,  and  at  this  point  gradually  turn  the 
graver  over  to  the  right  as  it  is  pushed  forward  to  execute 
the  proper  width  of  shade,  which  at  the  widest  point 
should  be  the  same  as  the  body  stroke.  After  reaching 
the  center  of  this  curve  the  tool  is  turned  up  gradually 
until  reaching  the  horizontal  line  at  the  top,  at  which  point 
the  graver  should  be  in  position  to  cut  a  hair  line,  and 
this  is  continued  to  the  end  of  the  line  at  B.  Beginning 
again  at  A,  the  lower  portion  is  cut  same  as  the  above. 
The  shades  thus  cut  will  have  an  angular  appearance, 
which  is  not  permissible  and  must  be  obviated.  This  is 
easily  done  by  cutting  a  fine  hair  line  around  the  right  edge 
of  said  shade  stroke  at  K  and  D.  Great  care  should  be 
here  exercised  to  evade  any  possible  chance  of  permit- 
ting the  hair  line  so  cut,  to,  at  any  point  be  cut  to  the  right 
of  where  the  angle  of  cut  and  surface  of  metal  meet.  If 
the  line  mentioned  is  accurately  cut,  as  above  mentioned, 
it  will  give  the  angular  shade  a  sunken  appearance,  or, 
in  other  words,  the  incision  will  appear  flat,  as  it  would 
if  cut  with  a  flat  bottom  tool,  were  the  cut  of  the  same 
width.  The  body  strokes  of  one  style  of  Roman  letter 


94  MODERN  LETTER  ENGRAVING^ 

swell  near  the  top  or  bottom  of  guide  lines.  The 
letter  shown  at  Fig.  I  is  complete  for  the  style  when 
the  shade  strokes  do  not  swell,  which  is  the  style  most 
commonly  used  for  very  fine  lettering.  Should  you 
desire  to  swell  the  body  stroke,  it  is  done  by  making 
the  little  extra  cut  mentioned  for  that  purpose  in  a  pre- 
vious article  and  shown  at  Fig.  4,  Plate  24. 

The  letter  B,  Fig.  2,  which  is  known  as   block  style 
contains  the  necessary  bars  and  curvatures  requisite  for 


\v  C     6 

Plate  25, 

the  formation  of  the  remainder  of  the  letters  of  the 
alphabet,  we  will  therefore  consider  engraving  it.  I 
would  recommend  this  style  of  lettering  for  inscription 
work.  I  mean,  of  course,  to  be  used  in  connection  with 
other  letters.  For  illustration,  for  a  small  inscription  we 
would  use  script,  old  English  and  block,  using  the  former 
mostly  and  the  latter  for  short  lines,  and  the  English  for 
the  name,  etc. 

Letters  of  this  style  are  usually  engraved  with  a  flat 
graver;  the  lining  graver  is  also  used  advantageously  on 
cheap  work  to  imitate  the  fine  lining  executed  with  a 
square  graver.  Flat  bottom  gravers  should  be  kept  in 


IN    THEORY    AND    PRACTICE.  95 

perfect  order.  Never  permit  the  corners  of  cutting 
edges  to  get  rounding.  It  is  much  easier  to  heel  up  a 
graver  occasionally  than  to  erase  a  superfluous  cut  some 
time  when  you  are  in  a  great  hurry. 

Probably  the  greatest  obstacle  to  encounter  in  engrav- 
ing block  letters  of  the  style  now  under  consideration, 
is  to  turn  the  sharp  corners  neatly;  however,  if  we  start 
right  and  will  go  about  it  carefully  and  with  a  determina- 
tion (which  is  the  key  to  success  in  all  high  class  work), 
we  will  master  the  now  apparent  difficulty. 

Referring  to  Fig.  2,  B  is  engraved  by  first  cutting  the 
perpendicular  stroke  up  from  C  to  E.  We  next  cut  the 
top  loop,  as  by  so  doing  it  will  answer  as  a  guide  for  cut- 
ting the  lower  one.  We  begin  by  placing  the  graver  at  the 
right  of  the  stroke  just  cut,  as  indicated  by  line  N,  and  cut 
out  to  corner  M.  At  this  point  some  engravers  throw 
the  graver  out,  breaking  off  the  chip.  I  can,  however, 
see  no  necessity  of  so  doing,  in  fact,  I  think  it  a  better 
mode  of  procedure  to,  when  arriving  at  the  point  above 
stated,  or  any  similar  one,  to  merely  raise  the  graver 
handle  slightly  and  turn  graver  over  to  the  right,  allow- 
ing it  to  remain  in  the  incision,  resting  on  the  right  cor- 
ner or  point  of  its  cutting  edge.  Now  the  graver  is  turned 
around  to  the  right,  the  point  of  the  graver  acting  as  a 
pivot.  When  the  tool  is  turned  sufficiently  to  be  in  line 
with  preceding  stroke,  it  is  turned  back  to  the  left, 
so  as  to  permit  the  cutting  edge  to  rest  flat  on  the  bot- 
tom of  the  incision. 

Now  we  are  ready  to  proceed,  and  as  we  do  so  the 
graver  must  not  be  pushed  in  deeper  or  allowed  to 
cut  a  more  shallow  incision,  but  pushed  forward  on  the 
plane  of  beginning.  It  will  be  noticed  that  by  cutting 
these  turns  in  this  way,  we  are  sure  of  making  a  clean 


96  MODERN  LETTER  ENGRAVING 

cut,  as  there  has  been  no  necessity  to,  neither  has  the 
entire  cutting  edge  of  graver  been  removed  from  the 
incision.  The  right  corner  of  the  flat  bottom  tool  having 
remained  in  its  incision  while  the  graver  was  turned,  it 
is  therefore  now,  when  the  graver  is  again  turned  so 
that  the  cutting  edge  is  flat,  in  same  position  and  act- 
ing as  a  guide  and  pivot.  A  corner  of  angular  strokes 
can  be  cut  more  accurately  and  rapidly  in  this  way  than 
could  be  done  by  throwing  the  graver  out  and  then  turn- 
ing the  work  and  again  inserting  the  tool  in  the  incision 
before  we  ready  are  to  proceed.  The  danger,  especially 
to  the  novice,  in  cutting  in  the  manner  last  mentioned,  is 
that  he  is  not  apt  to  place  the  right  corner  of  the  graver 
exactly  where  it  was  thrown  out.  Of  course,  an  expert 
engraver  would  not  experience  the  danger  here  men- 
tioned, but  that  does  not  change  the  fact  of  an  existing 
tendency  of  the  student  to  make  a  slight  protuberance  at 
such  points.  Therefore,  in  view  of  the  fact  that  the 
former  mode  is  more  expeditious,  easier  and  conducive  of 
cleaner  cutting,  the  expediency  of  following  it  is  mani- 
fest. When  cutting  block  letters  on  soft  metal  on  a  very 
large  scale,  it  is  well  to  throw  the  graver  out  at  each 
corner,  if  we  are  using  a  flat  tool.  The  instructions  men- 
tioned above  have  reference  to  small  lettering. 

The  cut  is  continued  up  to  the  corner,  L,  where  a  like 
turn  is  made,  and  so  continued  around  to  E.  The  graver 
is  next  placed  at  C,  and  continued  as  above  directed 
around  to  M,  which  completes  the  letter.  When  cut- 
ting up  to  the  line  or  incision  at  M,  formerly  cut, 
great  care  should  be  exercised  to  avoid  the  graver 
cutting  into  the  incision.  You  should  merely  cut  to 
it,  cutting  out  all  the  metal  in  front  of  the  tool,  but 
not  cut  into  said  cut. 


IN    THEORY    AND    PRACTICE.  97 

At  Figs.  5  and  6  are  delineated  the  principle  of  lap- 
ping the  cuts  of  octagon  shaped  letters.  The  letters  D, 
O  and  H,  will  exemplify  the  positions  of  such  cuts  at 
Fig.  2,  in  forming  letter  B. 

The  incisions  being  of  equal  depth  and  accurately 
cut,  it  will  be  difficult  to  detect  where  one  leaves 
off  and  where  the  other  begins.  Cutting  the  curved 
portion  of  B  at  Fig.  13  is  done,  when  the  letter  is  to  be 
bright  cut,  by  making  several  of  the  octagon  cuts  above 
mentioned,  each  cut  being  so  fine  that  the  general  appear- 
ance would  be  that  it  was  one  clean  cut.  It  is  often  the 
case,  owing  to  the  size  of  the  letters,  that  it  is  necessary 
to  turn  the  flat  graver  up  on  the  left  corner  and  make  one 
clean  stroke  of  the  curves.  Of  course,  the  cut  made  in 
this  way  would  have  an  angular  appearance,  i.  e.,  one  side 
of  the  cut  is  deep,  the  other  is  at  the  surface  of  the  metal. 
Here  we  are  called  upon  to  effect  the  optical  illusion 
heretofore  described  by  now  adding  the  fine  hair  line 
around  the  curves  so  cut,  to  give  the  sunken  appearance 
to  that  side  of  the  cut  that  is  even  with  the  metal's 
surface. 


CHAPTER  XVIII. 

Block  letters  engraved  in  the  various  ways  men- 
tioned are  easily  ornamented,  but  we  should  thoroughly 
acquaint  ourselves  with  every  detail  and  master 
engraving  them  plain,  before  we  attempt  to  indulge 
in  the  more  advanced  ideas.  Some  men  doing  engrav- 
ing (we  will  not  give  them  the  appellation  of  engravers), 
try  to  cover  up  the  errors  of  their  poor  work  by 
adding  some  fancy  flourishes.  I  hope  none  of  my 
readers  will  make  a  practice  of  such  an  unwise  and 
unfair  method;  it  may  be  true  that  an  expert  engraver 
could  add  an  extra  ornament  to  some  fancy  work 
that  would  entirely  obliterate  a  superfluous  cut  made, 
owing  to  the  point  of  the  graver  breaking  off,  but 
that  does  not  indicate  the  advisability  of  one  laboring 
with  plain  lettering  to  endeavor  to  cover  up  his 
poor  work  by  trying  to  add  some  extra  flourishes  or 
embellishments. 

Assuming  that  the  reader  has  qualified  in  the  plain 
block  or  Roman  lettering  we  will  devote  some  space  to. 
embellishing  same,  trusting,  that  such  ornamentations 
will  be  used  only  on  proper  occasions. 

We  will  first  apply  our  embellishment  to  block  letters 
engraved  in  the  bowl  of  a  tea  spoon,  where  the  same 
has  a  satin  finish  and  has  been  gold  plated.  For  some 
time  there  has  been,  and  is  at  present,  a  demand  for 
lettering  in  the  bowl  of  tea  spoons,  such  as  the  name  of 
some  city,  club  or  society,  where  a  block  letter  cut 
bright  with  a  slight  ornamentation  would  be  the  most 
desirable  in  most  cases.  First,  such  lettering  would  be 
easy  to  execute.  Second,  the  fact  of  the  broad  contrast 


IN    THEORY    AND    PRACTICE.  99 

between  the  heavy  bright  cut  (which  would  be  silver) 
and  the  gold  back  ground  would  present  a  very  beauti- 
ful effect. 

Block  letters  can  be  modified  and  changed  from  their 
regular  forms,  and  the  student  must  learn  to  make  such 
departures  and  yet  maintain  the  harmony  of  formation. 
Such  edification  can  only  be  attained  by  an  observing 
and  studious  pupil.  Notice  signs  of  such  odd  letters  and 
never  fail  to  scrutinize  such  lettering  by  good  engravers. 
You  may  say  that  would  be  picking  up  the  trade;  it 
would  not  be  picking  up  the  trade  exactly,  but  it  would 
be  picking  up  some  good  ide^s  which  are  original  no 
doubt  with  the  various  artists.  There  are  some  good 
fancy  letter  designs  in  text  books  which  could  be  used, 
but  the  best  fancy,  or  we  may  say  odd  letters  resembling 
the  block  letters,  I  think  it  is  safe  to  say  are  original 
formations  of  the  artist  who  will  make  his  designs  to 
suit  the  article  and  space  to  be  inscribed.  Such  being 
the  case,  it  would  appear  necessary  that  we  cultivate 
taste  and  endeavor  to  acquire  the  skill  for  such  work, 
which  is  not  as  difficult  as  one  may  think.  In  Chapter 
X  we  gave  some  hints  for  using  the  flat  bottom  graver 
for  wriggling;  in  the  work  we  now  are  considering  we 
find  such  class  of  work  useful.  If  we  have  a  name  to 
engrave  in  the  bowl  of  a  spoon,  such  as  mentioned  in 
this  chapter,  we  first  design  the  name  in  the  bowl  very 
accurately;  you  may  make  the  first  letter  the  same  size 
as  the  residue,  or  a  very  little  larger,  as  to  you  would 
appear  the  most  appropriate;  either  would  be  correct 
in  block  letters.  The  name  should  read  from  the  point 
of  bowl  toward  handle  or  diagonal,  and  can  be  designed 
straight,  curved,  scroll  shape  or  vacillatingly;  in  fact,  in 
any  symmetrical  or  odd  shape.  Only  be  sure  to  follow 


IOO 


MODERN  LETTER  ENGRAVING 


the  rules  and  usages  consistent  in  such  departures  from 
the  laws  of  artistic  exemplifications.  Having  made  a 
design  suitable  for  the  shape  and  size  of  bowl,  we  first 
wriggle  the  letters  with  the  flat  bottom  graver;  same  to 
be  very  fine.  Now  we  take  a  graver  (it  is  of  course 
understood  that  we  are  using  bent  gravers  described  for 
this  class  of  work),  wider  than  the  one  we  used  for 


Plate  26. 

wriggling  (we  can  wriggle  in  the  bowl  of  a  spoon  with 
a  straight  graver),  and  cut  a  bright  cut  shade  on  the 
lower  right  side;  shading  of  block  letters  are  usually 
d  droite.  The  shade  should  not  be  cut  flat,  but  on  an 
angle,  allowing  the  surface  line  of  the  incision  to  run 
along  and  up  to  the  wriggle.  This  mode  will  perhaps 
be  better  understood  by  noticing  Figs,  i  and  2,  Plate  26, 
where  A  represents  the  wriggle  and  B  the  bright  cut. 
At  Fig.  2  is  shown  a  profile  or  sectional  view  looking  in 
the  direction  of  the  Arrow  H,  Fig.  i.  Dotted  lines  at 
Fig.  2  represent  the  surface. 

It  is  not  necessary  that  the  bevel  of  the  cutting  in  the 
shade    B  should  be    at    much   of    an   angle.     A    slight 


IN    THEORY    AND    PRACTICE.  IOI 

change  in  the  reflecting  surfaces  of  the  letters  is  all  that 
is  required.  It  is  astonishing  to  one  who  never  gave  the 
subject  critical  examination,  how  slight  an  inclination  of 
surface  is  necessary  to  effect  a  contrast  and  give  the 
letter  an  appearance  of  relief.  The  student  can  from 
the  theory  here  exemplified  easily  apply  same  to  any 
letter  in  the  alphabet.  From  the  position  of  the  bright 
cut  shade  here  shown  it  will  be  understood  that  the 
light  supposing  to  cause  the  shade  emerges  from  the 
upper  left  corner.  The  position  of  the  shade  can  be 
changed  to  suit  the  fancy  of  the  artist,  but  the  one 
we  have  used  in  our  illustration  is  one  used  mostly. 
Block  letters  cut  with  a  half  round  graver  gives  a 
very  neat  effect  and  they  are  very  easily  executed. 
Letters  cut  with  the  flat  bottom  tool  as  described  in  a 
former  chapter  can  be  used  in  this  connection  very 
effectively. 

Wriggling  for  letters  to  be  cut  as  shown  in  our  illus- 
tration can  be  done  with  flat  bottom,  half  round  and 
lining  gravers;  and  the  wriggling  can  be  made  in  several 
degrees  of  fineness,  thereby  enabling  us  to  make  eight 
or  ten  letters  after  the  style  above  mentioned,  all  giving 
a  different  appearance. 

Script  and  roman  letters  can  be  used  for  engrav- 
ing spoon  bowls  with  beautiful  effect,  the  former 
especially.  The  styles  of  wriggling  here  mentioned 
are  used  for  engraving  Roman  letters  as  well  as 
block  or  gothic.  In  the  chapters  in  which  we  briefly 
considered  Roman  letters,  I  did  not  mention  the  lower 
case  of  that  style.  My  reason  for  so  doing  was  that 
such  style  of  lettering  is  seldom  used  by  bright  cut 
engravers,  and  the  concise  instructions  given  for  the 
capitals  will  I  believe  afford  sufficient  instructions 


IO2  MODERN  LETTER  ENGRAVING 

for  one  to  apply  to  the  lower  case  should  they  desire 
to  use  same.  The  theory  is  the  same,  and  as  the 
text-books  have  the  letters  of  the  lower  case  they 
would  be  easily  accomplished  should  one  care  to 
engrave  them. 

Another  style  of  cutting  block  or  gothic  letters  suit- 
able for  the  class  of  work  now  under  consideration  is 
to  wriggle  the  letter  first  or  cut  it  out  with  a  lining 
graver,  then  cut  a  bright  cut  each  side  of  the  various 
bars  forming  the  letters.  This  manner  of  cutting  the 
letters  will  give  them  a  relief  appearance,  and  if  neatly 
done  will  appear  beautiful.  The  class  of  work  above 
mentioned  is  very  useful  for  coffin-plate  work  or  any 
similar  work  where  attractive  and  cheap  designs  are 
required. 

Block  or  gothic  letters  engraved  bright  cut  in  the 
bowl  of  a  spoon  and  then  lined  as  shown  at  Fig.  3  with 
a  lining  graver,  cutting  four  to  six  lines  at  each  stroke, 
produces  a  very  effective  appearance,  and  is  desirable 
to  execute  when  cheap  showy  work  is  wanted. 

We  have  now  given  adequate  space  to  the  Roman, 
block  or  gothic  letters,  where  same  is  cut  with  the  flat 
bottom  tool  not  shaded  (only  in  a  cheap  way  here 
mentioned).  In  our  next  chapter  we  will  consider  this 
style  of  lettering  shaded,  /.  e.,  outlined  with  a  filling 
between  such  outlines  and  shade. 


CHAPTER  XIX. 

In  engraving  shaded  letters  we  find  the  flat  bottom 
graver  the  best  tool  for  cutting  the  shade  strokes  and 
some  engravers  use  it  for  cutting  the  entire  delineations. 
It  does  not,  however,  appear  to  be  the  best  tool  for 
cutting  hair  lines,  but  is  indispensable  for  accurate 
shading  of  block,  Gothic  or  Roman  letters,  and  we  may 
state  that  the  reason  for  it  being  the  most  practical  is 


Hate 


that  when  beginning  a  shade  stroke  or  ending  one  when 
same  should  be  square  on  the  guide  line  or  parallel  with 
some  portion  of  a  letter,  the  maximum  width  of  the  shade 
stroke  can  be  carried  up  to  such  line.  For  illustration, 
please  note  Fig.  2,  Plate  27.  Here  we  find  it  required 
of  us  to  begin  the  shade  stroke  square  on  the  line  at  D 
and  end  it  likewise  at  B.  Owing  to  the  fact  that  the 
flat  bottom  tool  is  square  on  the  front  or,  in  other  words, 
the  cutting  edge  is  sharpened  on  right  angles  with  the 
graver  blade,  the  work  as  required  can  be  easily 
executed.  We  show  end  view  of  such  a  graver  blade 
at  Fig.  8,  which  will  thoroughly  demonstrate  the  feasi- 

108 


IO4          MODERN  LETTER  ENGRAVING 

bility  of  its  use  in  this  connection.  If  we  were  to  use  the 
square  graver  in  its  stead  we  would  experience  the  same 
difficulty  as  in  cutting  the  letter  i  or  t  in  script,  and  the 
reasons  for  such  difficulties  we  explained  under  the  head 
of  script  work.     I  make  mention  of  the  use  of  the  square 
graver  being  used  for  shading  letters  of  style  now  under 
consideration  as  I  know  some  engravers  not  cognizant  of 
the  superior  merits  of  the  flat  bottom   graver  use  the 
square.     We  will  admit  that  the  square  tool  can  be  used 
for  this  style  of  shading,  but  not  with  as  perfect  results. 
Another  point  favorable  for  the  use  of  the  square 
graver  is  that  we  can  by  the  use  of  both  corners  of  its" 
cutting  edge  shade  to  the  right  or  left  equally  conven- 
ient.    At  Fig.  i  the  delineations  represent  the  sketching 
required  for  a  guide  when  engraving  shaded  Roman  > 
letters.     The  beginner  should  be  cautious  not  to  do  too 
much  sketching.     Having  sketched  the  letter  as  shown 
at  Fig.   i  we  next  take  a  flat  bottom  graver,  a  little 
wider  than  the  width  of  shade  we  desire  to  make,  turn- 
ing the  tool  up  on  the  left  corner  B,  Fig.  8,  and  placing 
same  on  the  top  guide  line  at  D,  Fig.  2,  inserting  the  tool 
at    place   of  •  beginning   so   the  cutting  edge  (front  of 
graver)  will  cut  a  chip  about  the  width  from  H  to  B,  Fig. 
8,  which  is  sufficient  for  the  stroke  required  to  shade  the 
letter  P,  and  push  same  forward  to  lower  guide  line  at 
B.     The  pupil  will  readily  notice  that  the  flat  face  of  the 
graver  will  cut  the  chip  out  flat  on  the  line  at  B.     The 
point  or  corner  B,  Fig.  8,  of  the  graver  should  traverse 
the  sketch  line,  thereby  making  the  entire  shade  inside 
of  the  sketch  lines.     If  this  rule  is   followed   we  will 
engrave  our  letters  same  width  as  sketched,  including 
the  shade,  consequently,   when  we    have    finished  our 
sketch,  we  can  see  just  how  our  letters  will  appear  when 


IN   THEORY    AND    PRACTICE  10$ 

completed.  To  complete  the  letter  P  we  next  place  the 
right  point  or  corner  of  graver  M,  Fig.  8,  at  S,  Fig.  2, 
and  cut  up  to  H.  The  angle  of  the  stroke,  of  course,  to 
be  on  the  letter.  In  all  shading  of  shaded  letters  the 
shade  stroke  should  be  made  with  angle  of  said  stroke  on 
the  letter.  We  explained  this  important  matter  in  a  pre- 
vious chapter  by  illustration. 

We  have  now  cut  the  necessary  shade  strokes  and  can 
now  exchange  the  flat  tool  for  the  square  and  finish  the 
letter  by  cutting  the  hair  lines,  or,  as  before  stated,  we 
can  use  the  flat  tool.  The  former  being  preferable  we 
will  pick  it  up  and  placing  point  at  A  Fig.  3  cut  the  hair 
line  to  the  right,  beginning  again  at  A  and  cut  to  the 
left.  The  ends  of  such  lines  should  be  blunt — ending 
same  width  of  the  line — in  order  to  effect  that  appear- 
ance we  find  it  necessary  to  resort  to  the  above  method. 
We  could  begin  at  one  end  and  end  at  the  other,  which 
would  be  the  quicker  way,  but  what  would  be  the  effect? 
Simply  that  one  end  would  be  blunt  and  the  other 
pointed.  Some  of  my  readers  may  say  that  it  would  be 
good  enough  if  cut  with  one  stroke.  Should  one 
anatomize  the  work  under  a  glass  with  the  scrutiny 
becoming  a  student  in  art,  no-  matter  how  scrupulous  he 
may  be,  I  am  sure  the  work  executed  by  cutting  both 
ways  would  appeal  to  his  good  judgment  sufficiently  to 
warrant  his  adhering  to  that  mode  of  procedure,  even 
though  it  would  require  a  few  extra  cuts  to  execute. 

I  make  mention  of  the  disapproved  method  and  cau- 
tion students  regarding  it,  as  I  have  noticed  many  engrav- 
ers following  it,  greatly  to  their  disadvantage.  It  is  the 
little  things  brought  into  action  that  produces  the  desired 
effect,  and  it  is  our  duty  in  modern  engraving  to  strictly 
follow  those  lines. 


IO6  MODERN  LETTER  ENGRAVING 

Continuing  the  letter  P,  we  begin  at  bottom  of  the 
perpendicular  line  E  and  cut  up  to  the  top.  Next 
beginning  at  O  cut  the  hair  line  out  to  H,  beginning  at 
E  on  same  line,  the  line  is  continued  up  to  where  it  meets 
the  line  forming  the  top  of  the  letter.  Now,  place  the 
graver  point  at  P  where  the  shade  stroke  ended  and  con- 
tinue the  hair  line  to  the  end  E.  Now,  we  cut  the  fine 
hair  line  at  the  left  of  the  shade  stroke,  where  said  stroke 
and  surface  of  metal  meet.  This  completes  the  letter  in 
formation,  and  now  we  have  to  consider  the  filling.  By 
filling  we  mean  the  embellishment  to  be  engraved 
between  the  hair  lines  and  shade  strokes.  Before  we 
take  up  the  filling  would  say  that  the  letter  P  could  be 
engraved  with  sequel,  as  above,  by  first  outlining  the 
letter  with  hair  lines  and  then  adding  the  shading.  The 
objection  I  have  to  this  method  is  that  we  go  over  the 
same  ground  twice  when  we  engrave  the  shade,  and 
should  we  fail  to  exactly  follow  the  line  previously 
engraved  we  would  have  two  lines  where  one  is  wanted. 
The  latter  is  not  as  much  of  an  objection  as  the  former. 

At  the  right  of  Fig.  3  we  illustrate  six  styles  of  fill- 
ing, probably  the  most  commonly  used,  the  first  four 
being  of  the  same  line  of  work,  only  changing  the  direc- 
tion of  the  lines.  Any  of  the  line  fillings  can  be  executed 
with  a  lining  graver  on  all  cheap  work,  but  is  usually 
done  with  a  square  graver  on  fine  work,  such  as  a  fine 
block  monogram.  The  two  styles  at  the  extreme  right 
are  made  with  a  round  bottom  graver,  by  making  little 
"digs,"  being  very  careful  to  throw  the  graver  out  so  as 
to  break  the  chip  off. 

The  Gothic  letter  K  at  Fig.  4  is  engraved  in  outline 
same  as  Roman.  We  here  show  the  horizontal  line 
filling  slightly  elaborated.  The  extra  hair  line  A  is  made 


IN  THEORY  AND  PRACTICE.  IO7 

after  the  hair  line  along  the  shade  stroke  is  completed 
and  should  be  just  inside  each  shade  stroke  and  each  out- 
line, so  when  the  letter  is  complete  a  line  of  the  metal's 
surface  will  be  conspicuous  at  the  inner  side  of  the 
shading  and  outlines.  At  the  left  of  the  letter  K,  indi- 
cated by  line  M,  is  shown  a  very  effective  embellishment. 
The  cuts  are  made  with  a  flat  bottom  graver  and  the 
maximum  width  of  each  cut  just  fills  the  space  between 
the  lines,  as  illustrated  at  C,  the  same  being  cut  in  the 
direction  of  the  arrow.  This  work  is  executed  only  on 
the  left  of  the  letters  or  opposite  the  shade  stroke,  leav- 
ing the  surface  line  inside  the  shading  plain.  The  letter 
is  complete  without  this  ornate  addition,  but  the  letter 
can  be  beautified  by  adding  it.  Should  we  desire  to 
elaborate  the  letter  still  more  either  of  the  two  styles 
shown  at  the  extreme  right  of  the  letter  P  can  be  added. 

At  Fig.  5  is  shown  the  principle  of  shading  and  lining, 
above  referred  to.  The  delineations  below  BB  represent 
the  sketching.  At  the  letter  B,  d  droite,  we  show  the 
shade  stroke  where  the  graver  has  been  thrown  out  to 
clearly  demonstrate  the  theory  of  such  shading, 
and  it  is  manifest  that  the  shading  is  all  done  inside 
the  sketch  delineations.  We  also  stop  the  hair  line 
at  the  left  at  B  to  show  that  the  letter  at  the  top  is 
complete  for  filling  while  the  lower  portion  is  as  yet 
unacquainted  with  the  graver.  It  is,  of  course,  to  be 
understood  that  the  shading  is  first  completed,  then  the 
hair  lines,  and  so  on,  as  explained  above,  for  engraving 
the  letter  P.  We  show  them  cut  off  here  to  thoroughly 
explain,  as  above  mentioned. 

At  Fig.  6  is  shown  a  style  of  block  letter  with  the 
horizontal  bars  made  a  very  little  heavier  than  the  per- 
pendicular. The  principles  for  engraving  these  letters 


108          MODERN  LETTER  ENGRAVING 

are  the  same  as  for  others  described.  This  style  of 
lettering  is  made  very  effective  in  the  solid  style  of  letter 
(not  shaded)  by  wriggling  the  perpendicular  bars  heavy, 
and  the  horizontal  bars  very  fine,  with  a  graver  a  little 
wider. 

At  Fig.  7  we  illustrate  the  letter  W  with  a  fine 
wriggle  for  a  shading.  This  class  of  work  is  very  use- 
ful for  coffin-plates  or  similar  grade  work,  it  being  very 
showy,  quick  and  easily  executed.  As  illustrated,  the 
letter  is  ready  for  any  style  filling  the  artist  may  deem 
expedient  to  ornate  it  with. 

Space  will  not  permit  our  deliberating  further  under 
this  head,  but  as  we  proceed  we  will  consider  work  that 
can  be  used  in  this  connection. 

I  am  sanguine  that  my  readers  will  be  able  to  engrave 
the  alphabet  in  any  of  the  styles  we  mention  as  we  pro- 
ceed from  the  points  or  hints  we  endeavor  to  make 
plain.  It  would  be  impractical  to  give  each  style  the 
necessary  space  to  take  each  letter  of  the  alphabet, 
neither  do  I  deem  it  necessary.  We  endeavor  to  select 
such  letters  as  have  the  various  bars,  etc.,  or  equivalents 
of  the  residue  of  the  different  alphabets,  and  if  the  reader 
will  carefully  study  the  instructions  for  such  letters  he 
will  have  no  trouble  to  engrave  the  others,  depending  on 
your  text  book  for  formation  of  letters. 


CHAPTER  XX. 

Old  English  letters  are  used  more  than  any  other, 
by  the  engraver,  except  script.  This  style  of  lettering 
is  plain  enough  to  be  readable  and  at  the  same  time  is 
very  ornamental.  Old  or  modern  English  letters  are 
engraved  in  many  different  styles,  and  while  space  will 
not  permit  our  considering  all,  we  will  endeavor  to  take 
up  the  methods  and  styles  used  mostly. 

The  most  common  and  easiest  way  for  the  beginner 
to  cut  English  letters  is  to  wriggle  them,  but  as  I  believe 
good  wriggling  to  be  more  difficult  than  bright  cutting, 
we  will  first  direct  the  reader's  attention  to  the  latter. 

Solid  English  letters  (not  shaded)  are  cut  with  a 
flat  bottom  graver.  If  we  are  to  engrave  on  a  plate  or 
a  tray,  the  graver  should  be  ground  off  on 
the  under  side,  to  raise  the  hand  sufficiently  to 
manipulate  the  tool  gracefully.  The  gravers 
of  the  size  that  would  be  used  for  engraving 


on  watch  caps  are  not  ground  off  as  above 


mentioned,  it  being  only  necessary  to  whet 
the  under  side  so  it  will  be  perfectly  flat.  The 
graver  should  always  be  sharpened  by  whet- 
ting the  end.  The  whetting  on  the  underside 
is  done  only  to  make  it  dead  flat. 

At  B,  Plate  28,  is  shown  one  of  the  main 
bars  of  old  English  letters.     The  end  of  the 
graver  D,  which  is  the  width  of  the  bar  we 
desire  to  cut,  is  shown  in  position  to  engrave  the  bar 
B.     It  is  to   be  understood  that  these  bars  should  be 
engraved,  leaving  each  end  pointed  about  as  shown  at  P 
and  G,  Plate  28,  and  the  less  cutting  we  do  to  obtain  the 
*  109 


HO  MODERN  LETTER  ENGRAVING 

desired  form  just  so  much  better  will  our  work  appear. 
I  am  cognizant  of  the  fact  that  some  engravers  begin 
this  bar  by  cutting  the  width  of  the  graver  and  then 
make  a  pointed  cut  both  at  the  top  and  bottom  to  gain 
the  correct  form.  This  gives  the  work  a  "  chopped  up  " 
appearance  and  necessitates  unnecessary  work.  On  very 
fine  work,  such  as  would  be  engraved  on  a  watch  cap, 
it  may  be  well  to  follow  this  method  but  for  bright  cut 
work,  or  any  work  of  size  larger  than  that  mentioned,  it 
is  not  satisfactory. 

To  cut  the  bar  complete  with  one  stroke,  we  place 
the  point  C  of  the  graver,  Plate  28,  at  the  point  P,  of 
the  bar  and  turn  the  graver  over  to  the 
left,  so  that  only  the  point  C  will  come  in 
contact  with  the  metal;  now,  as  the  tool 
is  pushed  forward  it  is  gradually  turned 
to  the  right,  so  that  the  graver  will  grad- 
ually cut  a  deeper  and  wider  line  until  it 
is  pushed  up  as  far  as  H,  where  the  full 
cutting  edge  or  front  of  the  graver  is 
Plate  SQ.  inserted.  The  graver  should  now  be 

held  firmly  and  parallel  with  the  article 
in  hand  so  the  bottom  of  the  incision  will  be  cut  per- 
fectly flat,  and  so  continued  up  to  M,  at  which  point 
the  graver  is  rolled  over  to  the  right  gradually  on  the 
point  D,  and  so  continued  until  point  G  is  reached, 
where  the  tool  is  thrown  out  or  runs  out.  The  gradua- 
tion of  this  turn  of  the  graver  should  be  exactly  the 
same  as  the  one  at  the  bottom  or  beginning  of  the 
stroke.  To  engrave  the  little  cut  at  W,  Plate  29,  the 
graver  is  placed  with  the  cutting  edge  at  the  extreme 
left,  in  the  incision  at  A,  so  to  insure  the  cut  being  made 
of  the  same  depth  as  the  one  from  which  it  protrudes. 


IN    THEORY    AND    PRACTICE.  Ill 

The  graver  is  now  pushed  forward  in  this  position 
until  arriving  at  M,  where  it  is  turned  or  rolled  over  to 
the  left  on  the  point  C. 

Now  if  we  turn  our  graver  around  to  the  right,  as  it 
is  pushed  forward,  as  shown  at  Plate  30,  which  repre- 
sents the  graver  in  the  position  of  being  rolled  over  to 
the  left  and  turned  to  the  right,  gradually  turning  or 
rolling  it  over  on  the  point  C,  it  can  be  easily  run  out  at 
a  point,  thus  ending  the  stroke  as  desired. 

At  Plate  31,  we  have  delineated  a  stroke  used  in  old 
English;  it  is  engraved  in  the  style  now 
under  consideration  by  placing  the  point  of 
the  flat  bottom  graver  C  at  M  with  the 
graver  turned  well  over  to  the  left.  Now 
as  the  tool  is  pushed  forward  it  is  gradually 
turned  over  to  the  right,  as  the  complete 
graver  is  also  turned  around  to  the  right;  the  latter  turn 
will  effect  the  curve  while  the  former  widens  the  stroke. 
That  you  may  conceive  the  idea  I  wish  to  convey, 
please  note  the  difference  between  turning 
the  graver  aver  to  the  right  or  left  and  turn- 
ing the  graver  to  the  right  or  left.  By  turn- 
ing the  graver  over  either  way,  we  mean  to 
turn  it  so  as  to  make  it  cut  the  line  wider  or 
finer,  while  pushing  it  forward  in  the  same 
direction  and  by  turning  the  graver  (leaving 
out  the  word  over)  we  mean  to  swing  the  graver  handle 
around  so  as  to  make  a  curve. 

The  graver  is  pushed  forward  as  above  mentioned, 
until  it  is  turned  over  so  as  to  cut  the  stroke  the  entire 
width  of  the  graver's  cutting  edge.  The  tool  should  be 
in  this  position  as  it  reaches  the  line  W  H,  (the  end  of 
the  stroke). 


112  MODERN  LETTElC  ENGRAVING 

I  believe   there   is   no  stroke  in  solid,  bright  cut,  old 
English  engraving    that   is  so  badly    treated    by  some 
engravers   as  the  one  at  Plate 
32,  and  at  the  same  time  it  is  as 
easy  as  any  to  execute  if  handled 
correctly.     As    stated    above, 
bright  cut  work  should  be  cut 

Plate  32. 

as  clean  and  smooth  as  possible, 

this  being  true  it  would  be  our  duty  to  execute  the 
stroke  by  making  one  cut  only.  To  do  this  we  place 
the  point  of  graver  D,  Plate  32,  at  M,  the  point  of 
beginning,  with  the  graver  turned  well  over  to  the 
right,  so  as  to,  in  the  beginning,  cut  only  a  hair  line.  It 
is  then  pushed  forward,  turning  the  graver  to  the  left  to 
make  the  necessary  curve,  and  at  the  same  time  turning 
it  over  to  the  left  gradually,  to  widen  the  stroke  and 
so  continued  until  the  graver  is  turned  so  the  cutting 
edge  is  flat  on  the  metal  and  cuts  the  stroke  the  entire 
width  of  its  cutting  edge.  It  should  be  in  this  position 
in  the  center  of  the  stroke  at  the  line  D.  The  turning 
of  the  graver  over  to  the  left  is  continued  and  as  we 
pass  the  center  D,  the  point  of  the  graver  D  is  gradually 
turned  up,  leaving  the  point  C  in  the  metal  while  the 
point  D  is  raised  up  from  the  metal.  We  now  turn  the 
graver  to  the  right  to  make  the  curve  and  as  the  tool  is 
pushed  forward  it  is  gradually  turned  over  to  the  left 
and  so  continued  until  arriving  at  H,  at  which  point,  if 
the  directions  have  been  followed,  it  will  be  cutting  a 
hair  line. 

The  reader  will  note  that  we  commenced  with  the 
point  D  of  the  graver  and  by  rolling  the  tool  as  directed 
we  end  with  the  opposite  point,  C.  The  hair  line  at 
each  point  can  be  made  as  long  as  the  engraver  desires. 


IN   THEORY    AND   PRACTICE. 

When  cutting  this  stroke  with  a  very  wide  graver  it 
is  a  good  plan  to  cut  a  hair  line  along  the  edge  of 
the  cut  where  it  meets  the  metal's  surface.  The  prin- 
ciple of  cutting  this  line  and  reasons  therefore  have  been 
explained  in  a  former  chapter. 

At  Plate  33  we  show  another  stroke,  which  is  cut  by 
placing  the  point  C  of  the  graver  at  M  and 
6       quickly  turning  it  over  to  the  right,  so  that 
the  graver  will  cut  its  entire  width  up  to  G 
where  it  is  turned  back  to  the  left  as  the 
graver  proper   is   turned  to    the  right,  to 
execute  the  curve,  and  so  continued  until  it 
meets  the  line  with  which  it  is  to  be  connected,  at  which 
point  this  bar  should  end,  pointed  as  shown  in  our  illus- 
tration. 

The  curved  bar  at  Plate  34  is  a  portion  of  English 
letters  located  at  the  bottom  of  several  letters  of  this 
style.  When  cutting  this  bar 
the  work  is  turned  so  as  to  read 
top  down,  or  in  other  words 
wrong  side  up,  and  for  this  rea- 
son our  guide  letters  are  so 
turned  and  as  the  reader  is  studying  this  Plate  he  should 
reverse  the  illustration. 

We  show  the  cut  as  it  appears  when  connected  with 
letters  and  as  the  method  of  cutting  is  such  as  to  neces- 
sitate reversing  the  plate  so  the  top  of  the  letter  will  be 
nearest  the  engraver  we  make  our  illustration  as  the 
actual  graver  would  appear  to  the  operator.  Point  B, 
of  the  graver,  Plate  34,  is  placed  at  the  point  of  the  cut 
and  turned  well  over  to  the  right,  so  as  to  cut  only  a 
hair  line  at  the  beginning.  As  the  tool  is  pushed  for- 
ward it  is  gradually  turned  over  to  the  left,  to  widen  the 


MODERN  LETTER  ENGRAVING 


cut,  and  at  the  same  time  turned  around  to  the  left  to 
execute  the  necessary  curve.  When  the  graver  reaches 
the  end  of  this  cut  it  should  be  turned  down,  so  that 
both  points  of  the  tool  are  inserted,  and  the  cut  ended 
with  same  width  as  the  graver.  A  fine  hair  line  is  now 
cut  along  the  top  line  to  give  that  portion  a  sunken 
effect. 

At  Plate  35  is  shown  a  bar  used  in  several  old  English 
letters  and  one  considered  by  some  to  be  difficult  of  exe- 
cution, but  which  is  easily  done  by  carrying  out  the  fol- 
lowing method.  Insert  the  entire  cutting  edge  of  the 
graver  at  M  and  push  the  tool  forward  perfectly  straight 
until  the  line  W  is  reached,  at  which  point  the  graver  is 
turned  a  very  little  to  the  .right  and  then 

£• v        pushed  forward  a  very  little,  then  again 

turned  to  the  right  and  again  pushed  for- 
ward as  before,  and  so  continued  (making 
in  all  four  or  five  such  turns)  until  the 
turn  is  completed. 

The  graver  is  then  pushed  forward, 
cutting  its  full  width,  until  it  reaches  H, 
at  which  point  the  left  point  of  the  graver 
is  gradually  raised,  thus  cutting  the  stroke 
finer  until  it  becomes  a  hair  line  point. 
As  the  graver  is  thus  turned  out  it  is  also  turned  around 
to  the  left  to  make  the  desired  curve  at  the  end.  The 
bar  at  D,  Plate  35,  is  cut  the  same  as  this  excepting  the 
octagon  turn  at  the  top;  former  instructions  will  suffice 
for  its  execution. 

I  am  sanguine  that  those  of  my  readers  who  have 
followed  my  endeavors  to  instruct  thus  far  will  with  the 
elucidations  in  this  chapter,  experience  no  trouble  in 
engraving  any  capital  letter  in  old  English,  cut  in  the 


V 

• 


M 

Plate  j 


IN  THEORY   AND   PRACTICE. 


style  herein  mentioned.  Remember  that  practice  is 
requisite  and  do  not  expect  to  cut  any  of  these  strokes, 
cuts  or  bars,  as  they  should  be  until  after  you  have 
passed  through  the  ordeals  of  practice. 


CHAPTER  XXI. 

Lower  case  Old    English   letters    are    comparatively 
easy  to  engrave.     The  most  difficult  feature  we  have  to 
contend  with  is  the  angle  of  the  angle  strokes.     The 
perpendicular  bars  usually  trouble  the  beginner  some, 
as  he  has  been  engraving  script  letters  on  an  angle  of 
forty-five  degrees,  and  in  consequence  of  the  latter  he  is 
apt  to  permit  the  perpendicular  bars  of  the  Old  English 
to  lean  a  little  to  the  right ;  but  if  the  student  will  keep 
the  work  in  hand  directly  in  front  of  him,  with  the  top 
and  bottom  guide  lines   horizontal,  he  will  experience 
little  trouble.     I  find  that  in  most  cases  where  students 
have  been  engraving  script,  they  hold  or  lay  the  article 
to  be  designed  upon  to  the  right  of  the  body  and  the 
the  horizontal  guide  lines  on  an  angle  with  the  body, 
in    position  about   as   one    would  write.     The/e    is  no 
objection  to  this  position  when  designing  script  (in  fact 
it  is  the  usual  position  of  an  engraver  when  sketching 
letters  on  an  angle)  if  he  will  remember  to  change  to 
one  above  mentioned  when  designing  Old  English.  This 
a  pupil  not  under  an  instructor  is  apt  to  overlook  and 
will  hold  the  article  in  front  of  him  when  designing  Old 
English  as-  above  mentioned  for  designing  script,  and 
consequently  will  usually  find  his  letters  leaning  to  the 
right.     Another  very  important  point  is  in  lapping  the 
perpendicular  and  angle  strokes.     We  gave  a  few  hints 
relative  to   this  work   when    considering  block  letters 
which    should    be    strictly    followed   here,  except   the 
graver  is  always  thrown    out  at  the  end  of  each   per- 
pendicular bar.     For  illustration  see  Fig.  i    (the  word 
come).  To   engrave  this  word,  we  first  cut  all  the  per- 

116 


IN   THEORY   AND   PRACTICE.  117 

pendicular  bars  up,  as  shown  at  Fig.  2.  We  next  cut 
the  angle  strokes  at  the  top  in  direction  of  the  arrow, 
Fig.  3.  All  angle  strokes  should,  be  engraved  in  the 
same  direction,  i.  e.,  begin  on  the  perpendicular  bar 
and  cut  out.  To  engrave  the  angle  strokes  at  the  top 
of  the  word  come,  Fig.  2,  indicated  by  the  dotted  lines, 
we  first  cut  the  one  at  the  top  of  the  letter  C,  then  the 
letter  O,  and  so  on  through  the  word,  remembering  to 
use  the  first  stroke  cut  at  the  top  of  the  letter  C  as  a 


ww 


Plate  36. 

guide,  and  cut  all  others  exactly  on  the  same  angle  and 
the  same  length.  The  top  of  the  letter  C  in  Old  English 
is  not  always  engraved  the  same;  should  the  engraver 
select  another  style,  he  should  then  use  the  angle  stroke 
of  the  letter  O  for  a  guide,  as  mentioned  above.  It 
matters  not  what  the  word  may  be,  the  first  perpendicu- 
lar or  angle  bar  or  stroke  should  be  a  guide  for  the 
residue.  We  now  reverse  the  work  and  cut  the  angle 
strokes  at  the  bottom  same  as  above,  except,  instead  of 
beginning  with  the  first  letter,  we  commence  with  the 
last  letter  in  the  word;  reason  for  so  doing  is  obvious. 
The  bottom  finish  of  the  first  two  bars  of  the  letter  M 


Il8  MODERN  LETTER  ENGRAVING 

is  a  cut  made  by  inserting  the  graver  as  for  cutting  an 
angle  stroke  and  push  it  forward  the  width  of  the  cutting 
edge  of  the  graver,  thus  forming  a  perfect  square. 
Several  other  Old  English  letters  are  treated  likewise, 
as  the  text-books  will  show.  Having  cut  the  angles  at 
the  bottom,  we  next  begin  with  the  first  letter  and  cut 
the  lines  connecting  the  bars  of  each  letter  and  pro- 
truding from  same  as  shown  at  Fig.  i.  Most  beginners 
engrave  these  lines  by  beginning  on  the  letter  with  a 
fine  line,  and  as  the  line  proceeds  it  is  cut  deeper  and 
wider  and  when  finished  would  appear  as  shown  at  B 

Fig-  3- 

I  wish  to  caution  the  student  particularly  regarding 
this  common  error.  Begin  all  these  lines  on  the  letter 
and  cut  out  from  same — never  cut  a  line  into  a  letter. 

Lower  case  Old  English  letters  can  be  engraved  with 
the  flat  bottom  graver  in  various  styles.  The  word 
"come"  shown  at  Fig.  i  is  to  represent  the  effect  of 
bright  cut,  the  black  bars  as  here  shown,  are  cut,  with 
one  stroke  of  the  graver,  which  is  perfectly  finished  to 
cut  a  bright  cut.  The  hair  lines  are  cut  with  a  square 
graver,  polished.  Now  should  we  desire  to  ornate  this 
class  of  work,  we  wriggle  the  perpendicular  bars  very 
fine,  leaving  the  angles  bright  cut.  Leaving  the  letters 
bright  cut  is  one  style  of  finish;  wriggling  the  perpendi- 
cular bars  only  is  the  second  finish.  To  make  the  third 
we  wriggle  the  angle  strokes,  leaving  the  perpendicular 
bars  bright.  The  fourth  finish  is  made  by  wriggling 
the  complete  letter.  The  fifth  by  wriggling  the  perpen- 
dicular bars  very  fine  and  the  angle  strokes  much 
coarser.  The  sixth  is  the  reverse  of  the  fifth.  The 
reader  will  comprehend  that  with  the  one  flat  bottom  tool 
we  can  engrave  six  different  finishes,  thus  giving  us  a 


IN    THEORY    AND    PRACTICE.  lip 

broad  scope  of  variation  in  style  or  finish,  all  of  which 
are  easily  executed  when  we  know  how.  Another  style 
of  cutting  very  useful  for  cheap  showy  work  is  to 
wriggle  the  letter  first,  then  cut  a  bright  cut  shade  on 
the  right  of  each  bar,  same  as  previously  mentioned  for 
cutting  block  letters  by  wriggling  and  shading. 

Should  we  desire  we  can  elaborate  the  work  still  more 
by  cutting  a  bright  cut  shade  on  each  side  of  all  the  bars 
of  each  letter  which  has  first  been  wriggled.  All  this 
work  can  be  done  with  the  one  graver.  I  have  seen 
Old  English  letters  that  were  engraved  with  a  half  round 
graver,  but  can  not  say  that  I  consider  it  advisable  for 
the  beginner  to  spend  any  time  with  that  tool  in  this 
connection.  The  flat  tool  can  be  used  easier  and  with 
better  effect.  Especially  is  this  true  with  the  lower  case 
letters. 

The  various  ways  mentioned  for  using  the  flat  tool/ 
for  bright  cut  work  is  applicable  for  work  on  polished 
metals,  except  the  graver  is  not  polished,  consequently 
the  cuts  will  have  the  appearance  of  having  been  cut 
with  a  very  fine  liner,  instead  of  being  a  bright  cut. 
The  gravers  for  polished  metals  should  be  left  as  they 
come  from  the  oilstone. 

I  think  it  is  safe  to  say  that  seventy-five  per  cent  of 
lower  case  Old  English  letters  engraved  by  our  best  let- 
ter engravers  at  the  present  time  are  engraved  by  cut- 
ing  the  angles  a  very  little  wider  than  the  perpendicular 
bars.  For  illustration  see  Fig.  4.  The  engraver  must 
exercise  his  judgment  as  to  the  shape  of  the  letters; 
they  can  be  designed  and  engraved  oblong  or  grotesque 
shape  as  best  suits  the  space  and  shape  of  article  to  be 
engraved.  This  is  also  true  with  all  letters,  except  per- 
haps with  script,  which  style  should  not  vary  but  little. 


I2O          MODERN  LETTER  ENGRAVING 

Should  we  be  called  upon  to  engrave  script  letters  in  a 
space  where  it  would  be  necessary  to  make  the  letters 
more  oblong  than  usual,  we  then  engrave  the  letters 
perpendicular,  which  style  is  very  neat  if  well  executed, 
and  the  letters  can  be  so  placed  as  to  engrave  a  long 
name  in  a  small  space.  At  Fig.  5  we  show  such  script 
letters.  The  first  three  letters  are  embellished  to  show 
the  student  the  appearance  of  a  slight  embellishment. 
Directly  under  the  letter  E  we  have  the  cuts  used  in 
this  style  of  ornamentation;  the  arrows  show  the  way 
each  little  cut  is  made.  Before  adding  these  cuts  we 
select  a  half  round  graver  about  size  of  the  shade  of 
each  letter  and  wriggle  the  shade  about  as  much  as 
shown  at  Fig.  6.  The  wriggling  can  be  added  to  the 
plain  letters  without  the  little  cuts,  or  vice  versa;  or  we 
cact  use  both,  should  we  care  to  increase  the  embellish- 
ment. 

When  cutting  script  letters,  as  shown  at  Fig.  5,  it  is 
sometimes  necessary  to  square  up  such  letters  as  are 
usually  squared  by  an  extra  cut,  by  beginning  the  cut 
on  the  opposite  side  of  the  letter  from  the  one  used  in 
regular  script.  This  class  of  lettering  is  extensively 
used  for  engraving  names  of  cities  in  bowls  of  tea 
spoons.  The  letters  are  cut  very  heavy  and  with  a  per- 
fect bright  cut  and  are  very  showy  and  neat. 

This  style  of  script  can  be  engraved  on  a  curve  or 
scroll  shape,  while  regular  script  can  not  as  effectively, 
in  fact  it  is,  as  a  general  practice,  unwise  to  engrave 
script  letters  on  an  oval  curve,  but  when  done  the  curve 
should  be  very  slight. 


CHAPTER  XXII. 

Old  English  capitals  are  very  commonly  engraved  by 
wriggling  and  can  be  executed  in  that  way  with  good 
effect  if  well  done.  It  is  very  easy  to  wriggle  the  straight 
bars  of  all  letters  but  it  is  quite  another  matter  when  we 
attempt  to  cut  the  curves.  When  beginning  a  perpen- 


Plattyf. 


dicular  bar  we  can,  by  holding  the  cutting  edge  of 
the  flat  tool  on  a  slight  angle  begin  the  bar  quite  pointed, 
in  so  doing  soon  as  we  have  rolled  the  graver  two  or 
three  times  to  effect  the  wriggle  we  turn  the  tool  so  the 
cutting  edge  is  horizontal  with  the  baf  and  so  continue 
until  we  near  the  end,  where,  if  desirous  of  making  same 

131 


122  MODERN  LETTER  ENGRAVING 

pointed,  we  proceed  as  in  the  beginning  by  turning  graver 
liyhtly,  at  same  time  gently  forcing  it  to  the  right. 

The  stem  or  short  bar,  H,  Plate  37,  Fig.  i,  is  wriggled 
by  (when  arriving  at  line  H)  gently  pulling  graver  in 
direction  of  the  arrow  at  same  time  the  graver  is  rolled 
right  and  left  to  make  the  wriggle,  but  it  will  be  seen  that 
by  pulling  the  tool  off  in  the  direction  of  the  arrow  (not 
turning  the  graver)  we  will  make  the  bar  pointed.  At 
first,  when  practicing  this,  the  student  will  experience  a 
great  danger  of  graver  slipping,  but  that  can  be  mastered 
by  a  little  practice.  The  scroll  M,  when  engraved  small,  is 
executed  as  mentioned  above  for  perpendicular  bar.  Both 
are  sometimes  pointed  by  an  extra  cut,  but  it  is  better  to 
wriggle  them  pointed.  Should  we  want  to  engrave  the 
scroll  on  a  large  scale  (wriggled)  we  begin  in  the  center 
and  wriggle,  each  way;  the  reason  for  doing  this  is  that 
we  can  then  wriggle  the  scroll  out  to  a  point  as  described 
for  wriggling  bar,  H,  i.  e.,  by  pulling  the  graver  off  in 
the  direction  of  point  of  scroll,  and  at  the  same  time 
wriggling  and  hold  tool  in  position  as  you  would  if  you 
were  wriggling  a  straight  bar.  The  curve  W  is 
engraved  same  as  one  half  of  the  scroll  above  described. 

It  is  requisite  in  fine  wriggling  for  the  graver  to  be  in 
perfect  order,  cutting  edge  sharp  and  the  under  side 
dead  flat. 

Old  English  letters  are  very  commonly  wriggled  on 
plated  spoons  and  forks.  It  is  much  easier  to  wriggle 
the  letters  than  to  cut  them  out  with  the  flat  tool,  owing 
to  the  fact  of  the  metal  being  so  hard.  Should  we  care 
to  beautify  the  work,  it  is  an  easy  to  matter  to  cut  a 
shade  stroke  along  the  edge  of  the  wriggling.  Another 
style  of  engraving  Old  English  on  hard  metal  easily  is 
to  outline  the  letter  and  wriggle  the  lower  right  side  of 


IN   THEORY    AND    PRACTICE.  123 

each  letter,  such  wriggling  answering  for  a  shade.  For 
illustration  see  Fig.  2.  The  outlines  are  first  engraved, 
then  with  a  half  round  graver  of  suitable  size  we  follow 
the  incision  made  with  the  square  graver  on  the  lower 
right  side  of  each  bar  and  wriggle  very  fine.  If  the 
letter  is  very  large  we  wriggle  the  shade  first  with  a 
flat  bottom  tool,  then  engrave  the  outlines,  after  which 
the  filling  is  engraved. 

The  filling  in  between  the  delineations  of  each  bar  of 
the  letter  can  be  executed  in  various  styles.  The  one 
here  shown  consisting  of  cross  lines  is  made  with  the 
square  graver,  but  can  be  done  very  quickly  and  much 
finer  with  a  lining  graver,  cutting  several  lines  at  each 
stroke.  Another  style  of  engraving  Old  English  letters 
for  cheap  work  and  one  used  to  some  extent  by 
engravers  for  large  stores,  where  they  find  it  necessary 
to  execute  effective  work  and  at  same  time  neat  and 
quickly,  is  to  first  sketch  the  outlines  of  the  letter,  then 
with  a  square  graver  cut  the  line  at  the  left  and  upper 
side  of  each  bar,  by  making  quite  a  heavy  cut,  but  not  a 
shade  stroke.  We  show  at  Fig.  3  the  letter  F  sketched 
and  partially  engraved  for  illustration.  The  fine  lines 
are  to  represent  the  sketching  and  the  heavy  lines  those 
cut  with  a  square  graver  as  above  mentioned.  Now  we 
select  a  half  round  graver  of  such  size  as  would  wriggle 
a  cut  half  the  width  of  the  perpendicular  bar  of  the 
letter  and  then  wriggle  all  the  lines  cut  with  the  square 
graver.  At  B  is  shown  the  wriggled  cut;  that  portion 
of  the  bar  below  the  line  B  and  indicated  by  the  heavy 
line  is  the  line  the  half  round  graver  is  to  follow.  The 
wriggled  cut  is  shown  here  to  stop  at  line  B,  leaving  the 
remainder  of  the  bar  uncut,  that  the  reader  can  better 
form  an  idea  of  the  work.  Having  gone  all  over  the 


J24  MODERN  LETTER  ENGRAVING 

heavy  hair  lines  with  the  half  round  graver,  we  now 
take  the  flat  bottom  graver  and  cut  a  bright  cut  along 
the  right  and  lower  right  side  and  directly  up  to  the 
wriggled  line,  after  which  the  hair  lines  M  are  cut 
These  lines  can  be  engraved  with  the  flat  bottom  tool, 
but  I  prefer  to  lay  it  down  and  pick  up  a  square  one, 
believing  it  to  be  the  best  tool  for  cutting  hair  lines,  at  the 
same  time  admitting  it  can  be  done  dexterously  with 
the  former.  At  A  the  heavy  black  line  is  to  represent 
the  bright  cut,  the  upper  side  the  wriggling,  and  as  that 
portion  of  the  letter  appears,  it  is  complete.  The  reader 
will,  therefore,  comprehend  I  believe,  the  ideas  we  have 
endeavored  to  convey  and  note  that  the  letter  consists  of 
a  very  fine  wriggle  (as  wriggling  with  half  round 
graver  can  be  made  very  fine  and  is  so  intended  as  here 
mentioned)  and  bright  cut  shades,  and  such  a  combina- 
tion will  present  a  very  neat,  showy  appearance.  The 
reader  will  note  we  have  made  mention  of  similar  work, 
using  flat  bottom  graver  for  wriggling,  but  when  you 
have  followed  both  methods  or  styles  you  will  learn  that 
there  is  a  difference  in  appearance  and  the  latter  style 
can  be  applied  to  much  finer  work  than  the  former  and 
is  easier  to  execute;  also  that  the  method  employed  in  the 
execution  of  the  latter  would  necessarily  make  the  letter 
cut  deeper,  and  is  therefore  desirable  when  an  article  to 
be  engraved  is  subjected  to  much  wear. 

At  Fig.  4  we  show  a  sectional  view  of  a  style  of  cut- 
ting Old  English  Block  or  Roman  that  is  gaining 
popularity  with  some  of  our  best  engravers  in  view 'of 
its  presenting  a  beautiful  effect  and  is  so  difficult  to 
engrave  -well  that  the  less  skilled  artist  would  not  exhaust 
his  efforts  to  attempt  it,  therefore  the  work  would  appear 
to  have  an  individuality  (of  a  good  engraver)  or  would 


IN  THEORY  AND  PRACTICE.  125 

be  characteristic  of  proficiency  in  the  art.  While  the 
style  referred  to  is  difficult  to  engrave  well,  yet  one  that 
can  wield  the  graver  with  dextrous  precision  would 
find  that  it  is  easy  to  execute  and  can  be  done  quickly. 

This  style  is  not  dissimilar  to  the  one  previously 
described,  the  dissimilarity  being  only  an  exchange  of 
a  wriggle  for  a  bright  cut.  The  illustration  will  fully 
demonstrate  the  method  employed  in  executing  the 
double  shade  letter.  A  A  represents  the  metal  on 
which  the  letters  are  to  be  engraved  and  H  H  the 
surface  of  the  metal. 

The  letters  cut  in  this  way  consist  of  two  shade 
strokes  one  shading  to  the  left  and  the  other  to  the 
right.  C  C,  Fig.  4,  represents  the  shade  strokes.  The 
reader  will 'note  that  the  two  shade  strokes  meet  at  point 
W  and  a  letter  cut  in  this  way  will  appear  to  be  in 
relief.  A  flat  bottom  graver  is  the  only  tool  required 
and  with  that  tool  we  can  engrave  letters  of  a  great 
many  widths.  The  shade  to  the  right  is  cut  with  one 
corner  of  the  graver  and  the  one  to  the  left  with  the 
other.  Letters  of  this  style  are  very  desirable  for  satin 
finish  silver,  and  plated  ware,  the  cuts  being  bright  and 
the  back  ground  satin  finish,  thus  presenting  a  decided 
contrast. 

Old  English  letters  cut  with  parallel  lines,  as  has  been 
mentioned  for  block  and  Roman,  are  very  effective 
when  engraved  on  polished  gold  or  silver  with  a  graver 
as  it  comes  from  the  oil  stone.  There  are  many  other 
styles  of  cutting  "  English  "  letters  except  what  is  known 
as  "  shaded  Old  English,"  but  space  will  not  permit 
further  consideration  of  that  class  and  I  believe  from 
those  mentioned  the  beginner  will  be  able  to  form  styles 
enough  in  that  particular  line;  he  should,  however, 


126          MODERN  LETTER  ENGRAVING. 

remember  if  that  is  all  he  knows  that  he  does  not  "  know 
it  all,"  and  should  at  all  times  be  on  the  alert  for  new 
styles  and  willing  to  add  to  his  stock  of  styles,  at  the  same 
time  bearing  well  in  mind  that  it  is  not  the  number  of 
styles  of  letters  that  one  is  able  to  engrave  that  makes 
an  engraver  of  him,  but  it  is  how  well  he  can  do  those 
that  he  is  familiar  with.  It  is  better  to  master  the 
"  king  of  all  letters,  script "  than  to  engrave  many  styles 
and  not  do  any  of  them  well. 

In  this  work  we  do  not  expect  to  give  instructions  in 
all  the  styles  of  lettering,  but  those  we  think  would  be 
most  useful,  and  from  the  training  the  beginner  will 
receive  in  learning  the  styles  we  here  will  consider,  we 
believe  he  will  be  able  to  engrave  any  style  he  may  in 
the  future  see  that  he  considers  good. 


CHAPTER  XXIII. 

Shaded  Old  English  is  a  style  of  letter  that  we  are 
often  called  upon  to  engrave,  and  I  think  it  is  safe  to 
say  is  generally  preferred  by  customers.  The  student 
having  followed  these  lines  of  instructions  from  the 
beginning,  will  now  be  able  to  engrave  this  style  of  let- 
ter easily,  as  it  is  a  conceded  fact  that  Old  English  is 
easily  executed,  and  at  the  same  time  we  are  looking 
upon  these  letters  in  this  light,  I  am  desirous  of  present- 
ing a  few  cautionary  arguments  relative  to  students  in 
the  art,  following  the  theories  that  some  of  our  engrav- 
ers, who  only  occasionally  do  engraving  (I  refer  to 
watchmakers  in  small  cities)  have  of  necessity  or  other- 
wise found  their  alternative.  And  that  is  to  engrave  Old 
English,  as  they  can  make  the  letters  far  from  true,  and 
it  would  not  be  noticed  by  the  average  customer, 
"  because  the  letters  are  so  mixed  up  they  would  not 
notice  mistakes  and  the  poor  work."  This  could  not  be 
done  with  script  or  block,  therefore  we  often  see  speci- 
mens of  the  class  of  engraving  above  mentioned  that 
would  cause  one  to  feel  that  there  was  no  such  thing  as 
art  in  engraving. 

Old  English  lettering  requires  skill  to  execute  it  to  the 
full  exemplification  of  the  style,  and  yet  we  say  it  is  easy 
to  engrave,  and  truthfully,  as  one  being  able  to  engrave 
the  styles  of  letters  that  we  have  considered  in  these 
pages,  would  at  this  time  possess  sufficient  skill  to  mas- 
ter Old  English  easily.  While  it  is  true  that  Old 
English  letters  are  not  difficult  to  engrave,  it  is  equally 
true  that  they  are  not  easy  to  design  until  we  have 
made  a  thorough  study  of  their  correct  formation.  This 

127 


128  MODERN  LETTER  ENGRAVING 

style  of  lettering  being  in  demand  on  fine  and  expensive 
articles,  should  be  designed  with  the  utmost  care,  follow- 
ing every  detail,  and  the  cutting  should  be  executed  very 
accurately,  every  cut  clean  and  bright  (when  cutting 
bright  cut)  being  very  cautious  to  avoid  "  wave  cuts," 
or  irregularities  of  any  description.  Do  not  slight  any 
portion  of  the  letters;  it  matters  not  how  small  such  por- 
tion may  be,  it  should  be  executed  adroitly,  and  with 
as  much  care  as  any  of  the  principal  bars.  Not  one 
portion  of  any  letter  of  this  style  can  be  neglected  and 
maintain  the  original  appearance,  and  obtain  the  desired 
effect. 

A  watchmaker  may  build  a  fine  watch — perfect  as  can 
be  made — but  should  he  fail  to  poise  the  balance,  the 
watch  could  not  perform  the  functions  expected  of  it; 
neither  will  a  fancy  letter  appear  as  finished  if  any  part 
is  neglected.  Block,  Roman  and  Gothic  letters  are  neat, 
Old  English  and  German  Text  are  beautiful  and  artistic  if 
properly  engraved,  and  if  designed  poorly  and  executed 
likewise,  they  appear  to  one  with  an  average  critical  eye 
to  be  a  conglomeration  of  a  beginner's  practicing  exer- 
cises. Study  the  correct  formation  of  the  letters  from 
your  sample  or  text  book,  until  you  are  familiar  enough 
with  the  various  styles  to  design  and  engrave  them 
accurately  without  reference  to  books.  When  we  have 
an  article  to  engrave  in  Old  English  or  German  Text 
(we  mention  these  two  styles  as  they  are  very  similar) 
where  the  letters  are  to  be  made  small  we  use  the 
methods  described  in  the  previous  chapter,  but  if  space 
will  permit  we  use  the  shaded  style.  By  shaded  style 
as  here  mentioned,  I  refer  to  the  style  where  the  letter 
is  outlined  and  ornated  by  a  "filling"  between  the 
delineations,  not  as  shaded  as  described  in  the  preceding 


IN    THEORY    AND   PRACTICE.  1 29 

chapter.  Shaded  English  or  German  letters  are  usually 
used  when  engraving  only  one  letter  on  silver  spoons 
or  forks,  or  any  article  with  equivalent  space  for 
engraving,  when  a  monogram  is  not  wanted,  and 
engravers  are  often  asked  to  engrave  three  initials  on 
such  articles  as  silver  match  boxes,  napkin  rings,  etc., 
the  same  to  be  fancy,  but  not  interwoven;  in  such  cases 
we  usually  use  Old  English  or  German  Text.  Those 
styles,  especially  the  former,  are  very  elaborate  and  artistic 
and  are  easily  read.  When  a  jeweler  asks  a  customer 
what  style  lettering  he  would  prefer,  I  think  it  is  safe  to 
say  that  in  nine  cases  out  of  ten  they  would  request 
script  or  Old  English.  Therefore,  the  student  should 
thoroughly  study  those  styles,  and  master  them  in  detail, 
and  after  he  has  accomplished  that  line  of  the  art,  he 
will  find  by  making  a  study  of  fine  specimens  of  those 
letters,  especially  in  Old  English,  that'many  changes  can 
be  made,  departing  to  some  extent  from  the  rules  of 
correct  formation,  and  yet  maintaining  the  harmony  and 
general  form  of  the  original  letters,  merely  making  such 
changes  and  elaborations  as  would  better  harmonize 
with  the  article  and  space  to  be  engraved. 

Such  modifications  are  expected  of  an  up-to-date 
engraver  and  in  addition  thereto  he  must,  as  I  have 
before  stated,  be  able  to  form  letters  of  new  and  modern 
ideas,  and  such  knowledge  can  only  be  obtained  by  a 
most  thorough  study  of  the  letters  commonly  used  (most 
of  which  we  have  mentioned  in  these  chapters)  and  a 
very  careful  observation  of  any  artistic  lettering  that  he 
may  have  occasion  to  scrutinize.  At  Fig.  i,  Plate  37, 
we  show  a  sketch  of  an  Old  English  G,  shaded,  bright 
cut;  as  the  letter  here  appears  it  is  ready  for  any  filling 
we  may  desire  to  use.  These  letters  are  usually  shaded 


130- 


MODERN  LETTER  ENGRAVING 


with  a  flat  bottom  graver,  especially  when  the  letters 
are  engraved  large  on  silver  and  plated  ware.  There 
are  many  other  styles  of  shading  which  will  be  con- 
sidered later  on.  The  reason  for  using  the  flat  bot- 
tom graver  for  this  style  of  shading  is  that  we  can  cut 
equally  well  with  either  corner  of  the  cutting  edge; 
advantages  gained  thereby  have  been  explained  to  some 
extent  as  applied  to  other  styles  of  letters.  Some  en- 
gravers would  use  the  above  mentioned  graver  to 
engrave  the  entire  delineations  of  the  letter  G,  shown 


in  our  illustration.  I,  however,  do  not  believe  it  to  be 
the  best  tool  for  engraving  hair  lines  for  reasons  I  believe 
to  be  obvious  to  any  that  have  used  both  the  flat  bottom 
and  square  gravers. 

There  is,  however,  no  doubt  that  the  first  mentioned 
tool  is  the  best  for  shading.  The  square  tool  being  the 
best  for  hair  lines,  I  personally  use  and  recommend  to 
students  both  gravers  in  engraving  a  letter,  such  as 
shown  by  our  sketch.  First  engrave  the  shade  strokes 
in  direction  of  the  arrows  with  the  flat  tool,  then  finish 
the  delineations  (hair  lines)  with  the  square  one.  The 


IN   THEORY    AND    PRACTICE. 

fine  hair  lines  previously  described  in  connection  with 
Roman  lettering  are  now  engraved  along  the  edge  of  the 
shading. 

The  shades  H  and  B,  Fig.  i,  are  engraved  by  using 
corner  R  of  graver;  all  others  are  cut  with  corner  M. 
The  reason  for  using  first  one  corner  and  then  the  other  of 
the  graver  is  that  by  so  doing,  as  here  directed  for  this 
letter,  we  keep  the  portion  of  the  letter  being  engraved 
between  our  eye  and  the  graver  point,  while,  for  illustra- 
tion, should  we  cut  the  shade  H  down  with  corner  M  of 
graver,  instead  of  as  we  have  mentioned,  we  would  have 
the  graver  between  the  eye  and  limb  or  bar  of  letter 
being  cut. 

Students  should  bear  in  mind  one  fact  in  connection 
with  shading,  which  is  true  applied  to  any  style  of  double 
line  or  shaded  lettering,  and  that  is  as  I  have  stated 
before,  to  always  shade  on  the  letter;  by  that  we  mean 
that  the  angle  of  the  shade  stroke  cut  should  be  on  the 
letter. 

The  ideas  here  presented  for  old  English  are  also 
applicable  to  German  text. 

Early  in  these  chapters  I  mentioned  a  marker  or 
tracer  for  designing  letters  for  engraving;  one  end  of 
said  tracer  was  steel.  After  the  student  has  acquired 
sufficient  skill  in  designing  (which  those  who  are  fol- 
lowing these  chapters  practically  should  at  this  time 
have  acquired),  it  is  often  advantageous  to  very  carefully 
and  lightly  scratch  the  design  on  the  metal.  It  is  appar- 
ent that  the  design  thus  scratched  on  the  article  to  be 
engraved  must  be  nearly  perfect,  and  the  cutting  should 
cut  the  design  out  entirely.  I  would  caution  beginners 
not  to  use  the  steel  point;  wait  until  you  are  competent 
to  make  the  design  just  as  you  want  it.  It  is  well  in 


132  MODERN  LETTER  ENGRAVING 

making  large  designs  to  first  design  with  the.  pencil  or 
rubber  point,  touching  up  the  design  until  you  are  satis- 
fied with  it,  then  with  the  steel  point  go  over  the  original 
design,  scratching  it  on  the  metal  very  lightly.  Now 
you  will  be  able  to  remove  the  wax  or  paint  through 
which  your  design  was  first  made,  and  now  you  have 
the  clear  surface  of  the  metal  to  work  on,  and  the 
scratches  for  a  guide.  I  do  not  recommend  this  manner 
of  designing  for  all  purposes.  It  is  the  most  desirable 
in  some  cases,  such  as  some  very  fine  work  on  a  crest, 
coat  of  arms,  or  large  monogram  and  any  work  of  such 
size  as  would  be  apt  to  be  expunged  during  the  operation 
of  engraving,  if  only  designing  wax  was  used.  A  good 
engraver  seldom  experiences  any  danger  of  erasing  his 
design,  but  there  are  many  reasons  for  scratching  a 
design  on  the  article  to  be  engraved,  and  the  danger 
mentioned  would  be  a  consideration. 

The  steel  point  is  also  very  useful  for  designing  inside 
very  narrow  rings. 

The  steel  and  rubber  pointed  marker  mentioned  above 
is  now  for  sale  by  the  jobbers. 


CHAPTER  XXIV. 

Lower  case  Old  English  letters,  consisting  principally 
of  perpendicular  and  angular  bars,  are  much  easier  to 
engrave  than  the  capitals.  They  must  not,  however,  be 
slighted,  as  while  the  above  is  true  regarding  compari- 
son in  execution,  it  is  equally  true  that  if  the  lower  case 
letters  are  not  engraved  accurately,  they  will  show  the 


l 


inaccuracy  perhaps  more  prominently  than  the  capitals, 
owing  to  the  fact  of  the  former  being  made  in  general 
by  perpendicular  and  angle  strokes,  while  the  latter 
has  curved  strokes  and  protruding  bars,  and  other 
ornate  lines,  all  of  which  has  a  tendency  to  so  compli- 
cate the  general  view  that  any  little  error  would  not  be 
noticed.  The  beginner  must  not  take  advantage  of 
the  possibility  of  thus  endeavoring  to  deceive  his  custo- 

183 


134  MODERN  LETTER  ENGRAVING 

mer,  but  make  each  part  of  the  letter  perfectly.  Old 
English  lettering  can  be  engraved  on  an  angle,  curved, 
or  in  fact  in  many  odd  forms,  so  as  to  appear  well.  Old 
English  capitals  are  engraved  from  one-third  to  one-half 
higher  than  the  lower  case  letters,  it  depending  upon  the 
size  and  form  of  article  to  be  engraved.  I  think  it  is 
safe  to  say  that  the  capitals  are  in  most  cases  one-third 
or  a  very  little  more  higher  than  the  lower  case.  I 
think  that  most  engravers  will  agree  with  me  when  I 
say  that  lower  case  letters  look  better  and  more  finished 
when  engraved  by  making  the  angle  strokes  a  very  little 


Plate  y). 

wider  than  the  perpendicular.  For  illustration  and  com- 
parison please  note  Fig.  i  and  2,  Plate  38. 

At  Fig.  3  the  word  Republic,  in  German  Text  letters, 
illustrates  another  style  of  shading  the  heavy  bars  as 
here  shown  black,  are  engraved  by  cutting  bright  cut  or 
parallel  lines,  after  which  the  hair  line  at  the  right  is 
engraved.  The  little  stem  answering  as  a  slight  embel- 
lishment at  the  left  of  each  perpendicular  bar,  is  made 
by  beginning  on  the  edge  of  the  bar  with  the  right  point 
of  the  flat  bottom  graver  and  turning  quickly  around  to 
the  left,  throwing  it  out  at  a  point. 

In  Plate  39  we  show  the  word  Times  formed  into  a 
fancy  letter  containing  marked  elements  or  forms  of 
both  English  and  German  Text.  This  style  is  only  one 


IN    THEORY    AND    PRACTICE.  135 

of  the  many  that  can  be  made  from  ideas  embodied  in 
the  styles  mentioned  above.  These  letters  are  artistic, 
and  while  it  may  be  true  that  they  are  "  simple  to 
engrave,"  yet  it  is  quite  true  that  each  little  cut  has  its 
effect  on  the  general  appearances,  and  should  we  fail  to 
make  each  of  the  cuts  as  the  form  of  the  letter  requires, 
we  lose  the  effect.  The  black  bars  of  each  letter  is  cut 
with  the  flat  bottom  graver  (when  cutting  bright 'cut); 
balance  of  the  work  is  done  with  the  square  graver. 
The  outer  hair  line  is  next  engraved,  then  the  fine 
shading  lin^s  are  cut. 

It  is  often  required  of  engravers  to  oxidize  a  piece  of 
silver,  then  engrave  it  bright  cut,  thus  obtaining  a  dark 
background  with  bright  letters,  a  very  neat  contrast. 
He  is  also  often  called  upon  to  engrave  a  monogram, 
crest,  coat-of-arms,  or  some  emblem  which  should  be 
oxidized.  It  is  therefore  quite  necessary  that  an 
engraver  know  haw  to  oxidize  a  piece  of  silver  well,  an 
accomplishment  easily  obtained  by  the  use  of  the  fol- 
lowing formulas: 

1.  Place  the  article  to  be  oxidized  in  a  solution  of 
liver   of    sulphur  diluted  with   spirit   of    sal-ammoniac. 
Having  left  the  article  in  the   solution  a  sufficient  time 
for  the  chemicals  to  act,  it  is  taken  out  and  thoroughly 
washed,  dried  and  polished.     This  will  produce  a  blue- 
black  tint,  while  a  solution  of  equal  parts  of  sal-ammo- 
niac and  blue  vitrol  in  vinegar  produces  a  brown  shade. 

2.  Sal-ammoniac,    2    parts;     sulphate  of    copper,    2 
parts;  saltpeter,  i  part.     These  ingredients  are  reduced 
to  a  fine  powder  and  dissolved  in  acetic  acid.     If  the 
article  is  to  be  entirely  oxidized,  it  may  be  dipped  in  the 
boiling  mixture,  which  will   act  very  quickly.     If  only 
parts  are  to  be  oxidized,  both  the  mixture  and  articles  to 


136 


MODERN  LETTER  ENGRAVING 


be  oxidized  are  to  be  warmed,  and  the  former  applied  to 
the  latter  with  camel-hair  pencil. 

Referring  again  to  fancy  Old  English  and  German 
Text  letters,  the  reader  will  please  note  Fig.  i,  Plate  40. 
Here  we  have  a  German  M,  elaborated  by  a  leaf-like 
ornament  running  along  the  edge,  and  fancy  scroll  work 
around  and  between  the  bars  of  the  letter.  The  letter 
proper  is  engraved  plain,  then  the  leaf  is  added,  and 
after  that  portion  is  complete  the  scroll  work  is  engraved. 


Plate  40. 

The  letter  as  here  shown  could  be  cut  bright  cut  if  on 
satin  silver;  if  on  polished  metal,  the  bars  of  the  letter 
would  be  engraved  by  cutting  parallel  lines  with  an 
unpolished  graver. 

At  Fig.  2,  the  letter  M,  of  "English  "  style,  is  elab- 
orated by  scroll  work  filled  with  parallel  lines;  the  bars 
of  the  letter  can  be  engraved  bright  cut  or  outlined  and 
filled. 

Fig.  i,  Plate  41,  illustrates  a  very  elaborate  "English" 
H,  and  as  here  shown  is  supposed  to  be  bright  cut.  The 
scroll  work  is  all  executed  with  the  square  graver.  The 


IN    THEORY    AMD    PRACTICE. 


137 


heaviest  portion  of  the  embellishments  are  sketched  very 
carefully,  but  the  little  curves  and  other  small  ornate 
cuts  are  executed  without  the  aid  of  sketching.  It  may 
be  well  for  the  beginner  to  sketch  all  at  first,  to  see  how 


Plate  41. 

the  letter  will  appear  when  finished,  and  to  guide  him 
until  he  has  so  educated  his  eye  that  sketching  of  those 
smaller  portions  of  embellishment  mentioned  above  will 
be  unnecessary. 

Fig.  2  illustrates  a  German  Y  with  a  flower  leaf 
embellishment  added  to  the  bars  of  the  letter.  The 
scroll  work  around  the  letter  is  so  designed  as  to  make 
the  letter  with  its  general  appearance  effected  by  the 
oblong  scroll  work,  suitable  for  a  space  of  an  oblong 


138 


MODERN  LETTER  ENGRAVING 


form.  The  reader  will  please  note  the  difference  in 
form  or  shape  of  the  letter  M,  Fig.  i,  Plate  40,  and  Y, 
Fig.  2,  Plate  41.  One  is  designed  to  fit  in  a  space  the 
reverse  of  the  other. 


Plate  42. 


The  letter  H,  Fig.  i,  is  designed  to  conform  to  the 
space  of  an  irregular  space  for  engraving.  For  practi- 
cal illustration,  please  note  Cologne  bottle  at  Plate  42. 
The  letter  H  is  a  suitable  design  for  a  space  of  this 


IN    THEORY    AND    PRACTICE.  139 

form.  This  space  may  require  a  monogram  or  name, 
but  as  we  are  under  the  head  of  "  English"  work  we 
are  to  suppose  Old  English  letter  is  wanted.  The  letter, 
as  here  illustrated,  can  be  engraved  bright  cut,  parallel 
lines  or  shaded.  Should  we  not  care  to  make  the  letter 
as  elaborate  as  the  one  shown  in  our  illustration,  we  can 
leave  off  some  of  the  scroll  work,  or  all  of  it,  and  then 
in  order  to  fill  the  space  at  the  upper  left  point  of  space 
to  be  engraved  on  bottle,  we  add  the  part  of  "  English" 
letters  B,  Fig.  i,  or  what  would  be  still  better,  fit  a  small 
scroll  run  down  from  top  of  the  letter.  The  portion  B 
would  be  placed  a  little  above  X  to  the  right,  should  it  be 
necessary  to  engrave  the  letter  perfectly  plain.  Usually 
we  are  instructed  to  engrave  a  certain  style  of  letter,  or 
letters,  and  are  not  restricted  with  reference  to  embel- 
lishments further  than  that  the  letter  should  be  plain  (in 
appearance.)  Therefore,  if  we  have  a  case  such  as  the 
Cologne  bottle,  where  we  find  that  we  can  run  a  fine 
single  line  scroll  down  or  up  from  the  letter,  and  grace- 
fully fill  up  an  irregular  space,  it  surely  would  be  "  the 
correct  thing  to  do."  I,  however,  would  caution  the  stu- 
dent regarding  the  so-called  "  fancy  work  "  around,  or 
in  connection  with  letters.  A  little  scroll  cut  at  the 
proper  time,  in  the  right  place,  is  conducive  to  artistic 
workmanship,  while  an  over  abundance  of  "fancy  cuts" 
are  characteristic  of  an  engraver  who  is  endeavoring  to 
obliterate  his  work  with  cobweb  ornaments,  and  while 
it  may  be  true  his  work  would  be  better  appreciated  if 
it  were  less  noticeable,  it  still  remains  true  that  a  stu- 
dent in  the  art  of  engraving  should,  when  using  orna- 
mental work  at  all,  do  so  conservatively  and  with  great 
care,  taking  special  notice  that  each  scroll,  or  curve,  is 
perfectly  true. 


CHAPTER  XXV. 

Inscription  engraving  requires,  with  all  the  elements 
of  accuracy  and  precision,  the  execution  of  all  the  vari- 
ous styles  of  lettering  we  have  mastered.  Inscriptions 
of  but  few  lines  can  be  engraved  in  one  style  only,  but  if 
many  lines  are  used  we  are  able  to  execute  a  more 
effective  or  artistic  inscription  if  several  styles  are  used. 
Short  inscriptions  are  usually  engraved  in  script  only, 
when  using  but  one  style. 

Inscription  work  requires  some  study  to  correctly  form 
the  same.  We  may  be  able  to  engrave  many  styles  of 
letters  with  precision,  and  yet  lack  the  comprehension  of 
efficiency  in  the  formation  of  an  inscription.  This  being 
true,  it  would  behoove  us  to  study  with  care  the  forma- 
tion of  letters  in  inscriptions.  Each  line  should  be  so 
"  marked  off  "  (designed)  and  then  cut  as  to  harmonize 
with  all  other  lines.  The  guide  lines  should  be  made 
perfectly  true  and  very  fine.  A  guide  line  made  with  a 
marker  that  has  a  blunt  point  is  one  of  the  mistakes  of 
the  beginner;  the  line  should  be  fine  as  possible,  thus 
enabling  the  engraver  to  cut  the  letters  all  on  a  true  line. 

A  majority  of  the  inscriptions  engraved  are  executed 
on  articles  such  as  watch  caps,  medals  and  other  pieces 
requiring  the  inscription  to  be  engraved  in  a  circle.  We 
will,  in  view  of  this  fact,  consider  this  class  of  the  work. 

If  inscribing  a  watch  cap,  we  first  remove  the  cap 
from  the  case  and  prepare  it  as  described  in  chapter 
XV.  After  the  designing  wax  is  applied,  we  draw  a 
line  around  the  cap,  using  the  edge  of  the  cap  for  a 
guide.  The  style  of  compass  to  use  is  one  with  one 
steel  point,  and  one  point  to  which  is  attached  a  piece  of 

140 


IN   THEORY    AND    PRACTICE. 


pencil  lead  or  hard  rubber.  These  compasses  can  be 
bought  at  the  book  stores  as  cheap  as  twenty-five  cents 
each,  but  I  would  recommend  one  of  higher,  grade. 

We  next  draw  perpendicular  and  horizontal  lines,  A  A 
and  B  B,  shown  on  Plate  43.  Now  we  have  the 
outer  guide  line,  perpendicular  guide  line,  center  and  hori- 
zontal guide  line,  the  only  requisites  except  guide  lines  for 
the  letters,  to  warrant  accuracy.  The  circle,  perpen- 


dicular and  horizontal  lines  form  the  nucleus  only, 
around,  in  and  about  which  can  be  engraved  a  perfectly 
formed  inscription.  Any  attempt  to  design  an  inscrip- 
tion without  the  aid  of  such  lines  would  be  extremely 
unwise,  especially  for  the  beginner.  An  expert  engraver 
would  not  use  these  lines  to  inscribe  a  cap  with  one,  two 
or  possibly  three  lines,  if  he  was  to  engrave  them  in 
scroll  shape  or  on  lines  parallel  with  each  other.  It 
would  in  such  a  case  only  be  necessary  to  draw  one  per- 


142          MODERN  LETTER  ENGRAVING 

pendicular  line  for  a  center  guide.  We  are  not,  how- 
ever, to  study  the  possibilities  of  professionals,  but  to 
consider  the  best  forms  and  rules  to  be  followed  by  the 
beginner,  and  that  will  result  in  the  most  accurate  work, 
then  when  you  reach  that  professional  realm,  you  would 
no  doubt  look  back  and  say  that  it  was  due  to  starting 
out  with  rules  that  assured  accuracy,  and  by  rote  you 
accomplished  requisite  skill  to  design  an  inscription  of  a 
few  lines  without  the  aid  of  the  rules  herein  mentioned. 
To  design  the  following  inscription  on  a  watch  cap  we 
could  form  it  as  described:  Presented  to  Charles  P. 
Tickell,  by  his  parents,  on  his  twenty-first  birthday, 
Sept.  12,  1895.  Presented  to  on  C  C  line  (Plate 
43)  in  small  gothic  letters,  cut  with  a  flat  bottom 
graver  unpolished;  Charles  P.  Tickell,  on  D  D  line  in 
old  English;  by  his  parents,  on  E  E  line  in  script  or 
Roman  letters;  on  his  twenty-first  birthday,  in  script  on 
F  F  line;  Sept.  12,  1895,  on  G  G  line  in  same  style  as 
C  C  line  (gothic).  By  using  the  styles  mentioned  in  the 
above,  the  reader  will  notice  we  are  not  required  to 
engrave  many  different  styles,  only  those  used  mostly. 
Now  that  we  have  decided  upon  how  to  form  the 
inscription  (what  words  to  put  on  the  various  lines  and 
their  respective  styles),  we  will  now  consider  designing 
same.  I  believe  some  engravers  design  the  entire 
inscription  before  they  do  any  cutting,  and  some  even 
go  so  far  as  to  trace  the  letters  with  a  steel  point  to 
avoid  rubbing  them  off  during  operation.  This  seems 
to  me  all  unnecessary  on  work  of  class  now  under  con- 
sideration, and  not  only  unnecessary,  but  unwise,  and 
the  time  required  to  do  it  "  fooled  away." 

I  do  not  deem  it  necessary  for  an  engraver  to  even 
touch  the  surface  of  an  article  small  as  a  watch  cap. 


IN  THEORY  AND  PRACTICE.  143 

The  thumb  should  usually  rest  along  the  edge  of  the 
cap,  not  on  its  surface. 

There  are  some  classes  of  work  that  would  require 
the  design  to  be  scratched  on,  but  if  it  were  an  inscrip- 
tion it  surely  would  have  to  be  much  larger  than  a  watch 
cap.  Neither  do  I  believe  it  to  be  wise  for  the  beginner 
to  design  the  lines  complete  before  he  does  any  engrav- 
ing, for  many  reasons,  most  important  being  the  fact  of 
the  liability  of  his  not  "  coming  out "  just  as  he  had 
designed  to,  and  after  cutting  the  first  line  he  may  find 
that  it  appears  larger  or  smaller  than  he  had  designed 
it.  Any  of  the  lines  all  through  the  inscription  are 
liable  to  undergo  some  change  from  the  original  plan, 
and  should  any  such  change  be  made,  it  would  perhaps 
necessitate  other  changes,  all  of  which  has  a  tendency 
to  disarrange  the  whole  inscription,  and  any  of  these 
changes  require  time,  and  we  should  study  to  make 
every  move  count,  avoiding  going  back  to  patch  up  any 
word  that  we  have  spent  sufficient  time  on.  I  am  not 
ignorant  of  the  fact  that  the  work  should  be  so  accur- 
ately laid  out  that  no  change  be  necessary,  and  while 
this  is  true,  I  am  afraid  there  are  a  few  that  would 
design  an  inscription  on  a  watch  cap  in  ten  or  twelve 
lines  and  as  many  styles  of  letters  and  not  make  some 
style,  size  or  shape  letter  that  would  not  harmonize  with 
those  in  connection  with  .it,  or  the  spacing  found  to  have 
been  miscalculated,  and  for  this  reason  if  none  other,  I 
am  prompted  to  disapprove  the  method,  especially  for 
beginners. 

It  can  be  done  correctly,  but  one  sufficiently  skilled 
to  make  a  design  so  perfect  would  not  spend  the  time  to 
do  it.  The  mode  of  procedure  that  appears  to  me 
best  for  watch  cap  inscriptions,  is  for  illustration,  using 


144  MODERN  LETTER  ENGRAVING 

the  above  inscription,  to  first,  after  lines  horizontal  and 
perpendicular  have  been  drawn  inside  circle,  to  space 
down  by  making  one  dot  for  each  line  on  the  perpendi- 
cular guide  line  for  the  several  lines,  allowing  the  correct 
height  for  each  style  of  letters.  Having  done  this  we 
would  arrange  the  lines  as  shown  at  Plate  43  only  making 
the  guide  lines  for  one  line  of  lettering  until  said  line  is 
engraved.  Now  design  and  engrave  the  name  on  line 
DD,  next  draw  a  horizontal  line  at  top  of  the  capitals 
just  engraved,  for  a  guide  in  calipering  oval  line,  (if  it 
has  to  be  erased),  then  with  compasses  draw  two  guide 
lines  CC,  for  the  words  to  go  between  those  engraved, 
we  next  design  and  engrave  the  other  lines  in  their 
order.  Should,  however  the  inscription  be  one  where 
two  names  were  •  used,  we  would  engrave  the  second 
name  after  the  first  name,  skipping  the  lines  of  less  con- 
sequence, leaving  the  space  for  them.  The  idea  of 
engraving  the  name  first  is  that  it  being  the  important 
line  we  engrave  it  in  style  and  size  appropriate  for 
article  and  space,  having  first,  as  above  mentioned, 
spaced  off  by  dotted  lines  or  one  dot  for  each  line  the 
positions  for  the  other  lines.  Now  we  engrave  the 
other  lines  appropriate  to  and  in  harmony  with  the 
important  line  first  cut.  By  this  method  it  is  impossible 
to  make  errors;  we  build  the  work  up  as  we  go  along 
and  can  see  how  it  appears.  Complete  one  line  after  the 
other,  thus  avoiding  doing  anything  over.  I  again  dis- 
agree with  engravers  who  think  it  best  to  cut  all  the 
down  and  up  strokes  on  one  line  before  any  one  letter 
is  complete;  as  before  stated  I  believe  it  best  to  cut  all 
the  down  strokes  in  one  word,  then  all  the  up  strokes, 
after  which  cut  the  hair  lines  to  complete  the  word 
before  passing  to  the  next.  The  work  is  so  quickly 


IN   THEORY    AND    PRACTICE. 


025s 


O 


§£>   O 


Plate  44- 


146          MODERN  LETTER  ENGRAVING 

turned  that  I  am  of  the  opinion  we  do  not  lose  much 
time  and  are  less  apt  to  make  errors  by  completing  one 
thing  before  passing  to  another;  especially  is  this  true 
in  fine  work. 

After  the  lettering  is  all  complete  a  few  flourishes  can 
be  thrown  gracefully  around  the  various  lines,  adding 
much  to  the  general  appearance.  These  scrolls  or  lines 
should  be  engraved  very  fine  and  only  a  few  used.  At 
Plate  44  we  illustrate  a  few  ideas  of  such  work.  Begin- 
ners usually  overdo  this  work  by  crowding  in  too  much 
so  called  "fancy  work"  or  flourishes. 

In  the  inscription  we  have  here  formed  we  have  fol- 
lowed a  very  common  and  simple  idea  of  the  lines;  they 
can  be  engraved  in  scroll  shape  in  many  forms  and  in 
various  other  styles  which  the  student  can  easily  use 
after  he  has  accomplished  the  primary  forms.  Study 
fine  inscription  work  when  you  have  an  opportunity; 
we  can  always  learn  something  by  carefully  studying 
a  finely  engraved  inscription,  there  are  so  many  ideas 
exemplified  in  their  execution. 

Usually  the  prominent  line  in  inscription  work  is 
engraved  in  Old  English,  German  text,  or  script;  short 
lines  like,  Presented  to,  From  his,  By  her,  From,  and, 
&c.,  are  engraved  in  gothic  or  Roman  letters;  italics  are 
sometimes  used. 

After  we  have  completed  the  lettering  we  now  can 
embellish  the  inscription  by  engraving  some  of  the 
flourishes  above  mentioned  and  shown  at  Plate  44,  select- 
ing those  appropriate  for  space  to  be  filled.  The  cap  is 
now  removed  from  block  and  wax  as  described  in  Chap- 
ter XV. 

Should  we  desire  the  rich  gold  color  lines  such  as 
seen  on  Swiss  watch  caps  of  the  higher  grade,  we  color 


IN   THEORY    AMD    PRACTICE.  147 

the  cap  Etruscan  color  by  acid  or.  electro  gold  plating 
it  very  lightly.  The  engraving  having  been  done  with 
an  unpolished  graver,  the  incisions  are  consequently 
slightly  rough  and  the  gold  will  adhere  to  such  lines  more 
effectively  in  same  time  than  the  polished  surface  of  the 
cap.  It  is  apparent  therefore  that  when  the  lines  are 
nicely  colored  the  surface  is  only  slightly  colored  and 
same  is  easily  polished  off;  we  now  have  the  letters  as 
colored,  while  the  surface  is  highly  polished.  Polishing 
should  be  done  very  carefully.  A  very  beautiful  effect 
is  obtained  on  the  polished  surface  by  using  an  unpol- 
ished graver  without  the  coloring  as  above  mentioned. 
The  coloring,  of  course,  adds  to  the  contrast. 


CHAPTER  XXVI. 

If  we  consult  our  dictionary  to  learn  the  correct  name 
of  letters  interwoven,  we  will  find  that  a  cipher  is  "  A 
combination  or  interweaving  of  two  or  more  letters, 
especially  the  initials  of  a  name,"  while  the  word  mono- 
gram is  defined  as  "  A  cipher  composed  of  two  or  more 
letters  arranged  or  interwoven  in  such  a  manner  as  to 
form  a  single  object."  It  would  therefore  appear  from 
the  above  that  script  letters  interwoven  should  be  given 
the  appelation  cipher,  unless  they  are  woven  together 
very  compact,  while  fancy  block  letters,  owing  to  their 
appearance  when  interwoven,  should  be  monograms. 
However,  script  letters  interwoven  are  known  in  the 
trade  as  either  ciphers  or  script  monograms  (designating 
styles  of  script),  and  fancy  block  letters  interwoven  are 
known  as  monograms. 

Under  this  head  we  will  first  consider  ciphers,  or 
script  monograms,  in  their  various  styles  and  positions. 
Probably  the  greatest  mistake  made  by  those  who  are 
not  familiar  with  this  work  is  that  they,  lacking  the 
experience,  can  not  see  (imaginary  vision)  how  the  let- 
ters should  be  entwined,  so  they  make  the  first  letter  in 
nearly  the  regular  form,  and  try  to  entwine  the  second, 
and  so  on  with  the  third;  this  is  a  mistake.  We  should 
make  the  body  line  of  the  first  letter  in  position  and 
form  as  we  think  it  should  be;  now  stop,  study  and  con- 
sider the  other  letters.  Ask  yourself  where  and  how  the 
other  letters  properly  entwined  to  avoid  confusion  (sev- 
eral bars  running  close  together)  will  effect  the  forma- 
tion of  this,  the  first  letter.  Now  make  a  portion  of 
second  letter  before  finishing  first,  and  so  on  with  the 

148 


IN    THEORY    AND    PRACTICE. 


149 


third.  For  illustration  we  will  take  the  three  letters 
shown  in  cipher,  or  plain  script  monogram,  at  Fig.  6, 
Plate  45.  These  letters,  several  engravers  have  told 
me,  troubled  th^fri  to  entwine  and  maintain  harmony 
throughout;  fof*'  this  reason  we  will  use  them  here. 
Please  note  Plate  46.  We  are  supposing  that  it  is 


Plate  45. 

necessary  to  engrave  this  monogram  in  a  circle.  We 
first  make  circle  guide  line  with  compass.  Now  the  line 
of  beauty  is  sketched  in  position  so  as  to  leave  room  for 
body  or  main  strokes  of  the  other  two  letters,  with  suffi- 
cient space  for  curves  of  all  three.  It  is,  of  course, 
understood  that  there  can  be  no  set  rules  to  go  by  in 
making  these  first  sketches.  We  have  the  circle  for  one 
guide,  also  the  horizontal  and  vertical  lines,  the  latter 


MODERN  LETTER  ENGRAVING 


crossing  former  give  us  the  center.  This  is  the  only  guide 
we  have,  in  fact  we  need  none  other;  the  eye  must  direct 
us  with  the  aid  of  guides  mentioned.  We  next  sketch 
the  lines  at  the  right  of  the  line  of  beauty,  which  gives 
us  the  position  for  placing  the  line  of  oeauty  of  letter  P. 
That  line  is  now  made,  then  the  sketch  lines  for  right  of 
top  part  of  said  letter,  which  guards  against  our  placing 
line  of  beauty  of  the  H  too  close  to  P.  Now  we  sketch 
the  line  of  beauty  of  the  letter  H.  At  same  time  we  are 


Plate  <fb. 

making  all  these  lines  we  are  to  keep  our  eye  on  where 
we  can  "  throw"  the  loops  of  the  letters.  Next  we 
make  the  second  down  stroke  of  letter  H.  Now,  if  you 
find  by  these  rough  sketches  that  your  cipher  is  in  cen- 
ter of  circle,  you  then  proceed  to  sketch  the  loops  and 
finish  up  the  letters.  By  this  method  of  making  a  part 
of  one  letter,  then  a  part  of  the  next,  weaving  them 
together  as  they  are  being  "  made  up,"  making  one  to 
fit  in  with  the  other,  surely  makes  cipher  work  easy. 
The  eye  should  be  educated  to  see  imaginary  lines  of 
the  different  letters,  an  accomplishment  easily  acquired 


IN    THEORY    AND    PRACTICE. 

by  a  little  study  of  cipher  work  and  practice  designing 
same.  Having  sketched  the  cipher  as  perfectly  as  you 
can,  making  necessary  changes  by  "  patting  "  the  finger 
on  the  imperfect  part,  which  will,  by  the  aid  of  the  wax 
through  which  the  designing  is  done,  erase  the  original 
sketch,  then  sketch  the  imperfect  part  again  correctly. 
You  are  ndw  ready  to  do  the  engraving. 

Some  engravers  advise  cutting  the  heavy  bars  of  all 
the  letters  first,  then  go  back  to  the  first  letter  and  com- 
plete it  by  cutting  all  the  loops  and  connecting  lines, 
treating  the  other  letters  likewise.  This  may  be  an 
advisable  method  to  follow,  but  I  do  not  agree  with 
those  of  that  opinion,  for  reasons  I  have  mentioned  here- 
tofore in  connection  with  lettering.  The  method  last 
mentioned  would,  perhaps,  be  satisfactory  to  the  expert, 
but  would  be  an  unwise  mode  of  procedure  for  a 
beginner. 

For  illustration  in  engraving  the  cipher  at  Fig.  6,  we 
would  first  engrave  the  line  of  beauty  of  the  letter  K, 
beginning  at  end  of  loop,  thus  engraving  the  loop  first, 
and  so  on  up  the  beauty  line,  which  line  it  will  be 
remembered  we  have  stated  before  should  be  cut  up 
only.  We  continue  letter  K  until  completed.  Now  we 
arrive  at  the  point  of  showing  the  advisability  of 
engraving  one  letter  at  a  time.  Should  we  find  that 
after  cutting  the  letter  K  that  the  next  letter  was  a  little 
too  far  away,  or  too  close,  we  could  remedy  the  error 
by  not  changing  the  sketching,  but  by,  when  engraving 
the  letter,  running  the  graver  a  little  to  the  right  or  left 
of  sketch  line.  And  so  on  with  letter  following.  Those 
who  may  not  agree  with  me,  would  say  your  design 
should  be  perfect.  True,  it  should  be  practically  so; 
and  I  am  supposing  it  to  be,  but  it  will  be  conceded  that 


152  MODERN  LETTER  ENGRAVING 

designs  sketched  are  not  perfect;  even  when  engraved 
we  will  find  imperfections,  and  surely  we  can  engrave 
more  accurately  than  we  can  sketch.  Again,  when  we 
designed  the  cipher  we  made  the  bars  as  we  thought 
they  should  be.  Now,  if  when  we  engrave  the  first  one 
we  find  it  would  be  better  to  make  them  all  a  little 
heavier  or  lighter,  using  first  bar  cut  for  sample,  the 
necessary  changes  could  be  made  from  original  idea  of 
their  width.  While  if  all  of  the  heavy  bars  were  cut 
first,  and  we  then  found  they  were  too  heavy  or  light, 
we  would  need  to  make  some  changes  in  other  portions 
of  the  letters  to  maintain  the  harmony  desired,  and  this 
could  not  be  done  without  designing  them  over  again 
or  doing  a  large  amount  of  guess  work,  a  thing  a  good 
engraver  should  never  do. 

In  conclusion  on  this  subject  I  would  say  that  if  we 
cut  all  the  beauty  lines  and  heavy  bars  first  and  any 
change  has  been  made  from  the  design,  it  would  be  diffi- 
cult, especially  for  all  except  an  expert  engraver,  to  now 
connect  the  loops  at  the  end  of  lines  of  beauty  with  said 
line.  It  would  be  difficult  to  make  a  perfect  connection 
should  we  follow  the  design  perfectly.  While  in  the 
method  of  one  letter  at  a  time  we  begin  at  the  end  of 
line,  forming  loop  at  end  of  the  line  of  beauty,  therefore 
there  is  no  connecting  to  be  done,  because  we  begin  at 
one  end  and  continue  to  the  other,  of  course  allowing 
the  throwing  out  of  graver  at  places  where  it  should  be 
done. 

Having  engraved  the  letter  K,  we  next  engrave  the 
letter  P  in  same. manner  and  so  on  with  the  next  letter; 
be  extremely  cautious  to  cut  the  main  strokes  of  all  the 
letters  same  width,  unless  the  design  is  one  where  the 
first  and  last  letters  are  some  smaller  than  the  middle  one 


IN  THEORY  AND  PRACTICE.  153 

in  order  to  make  the  cipher  within  a  circle,  in  which  case 
the  smaller  letters  should  be  made  a  very  little  heavier  if 
it  can  be  done  and  maintain  the  uniform  appearance  of 
the  cipher  throughout.  It  will  be  noticed  that  the  top 
and  bottom  loops  in  the  cipher  under  consideration  swell 
up  and  down  in  the  center,  that  the  beauty  line  of  the 
letter  K  is  shorter  than  the  bars,  loops  forming  the  left 
of  the  letter  and  that  the  letter  H  is  the  reverse.  This 
is  done  to  make  the  cipher  round. 

As  this  cipher  now  appears  at  Fig.  6,  it  is  ready  for 
any  style  of  embellishment  we  may  wish  to  add.  The 
cipher  is  complete  as  it  is,  for  a  plain  "  script  monogram;" 
however,  if  it  were  cut  with  the  intention  of  being  left 
plain,  it  would  be  well  to  engrave  it  a  very  little  heavier, 
it  depending,  to  some  extent,  upon  the  article  and  style 
of  article  being  engraved. 

The  style  of  ornamentation  used  to  embellish  cipher 
shown  at  Fig.  i,  could  be  added  to  cipher  Fig.  6  very 
effectively;  perhaps  more  appropriately  than  style 
shown  at  Fig.  2,  owing  to  the  fact  that  the  letters  are 
more  closely  entwined  than  at  Fig.  2.  If  this  style 
were  used  it  would  be  necessary  to  lessen  the  number 
of  little  cuts  constituting  the  embellishment.  The  orna- 
ments shown  at  Fig.  i  (cipher)  are  made  with  the  square 
graver,  starting  on  the  lines  of  the  letters  with  a  hair 
line  and  gradually  turning  graver  as  you  near  the  end  at 
which  poiqt  the  graver  is  thrown  out  as  in  making  a 
lower  case  script  letter  E  or  C. 

The  round  dots  on  the  hair  lines  are  made  with  a  half 
round  graver,  with  the  exception  of  similar  dots  at  Fig. 
4  and  12  and  ornate  cuts  on  cipher  Fig.  10,  all  the  work 
on  this  plate  is  executed  with  the  square  graver. 

The  ornate  cuts  on  cipher  Figs.  10  and  1 1  are  cut  with 


154 


MODERN  LETTER  ENGRAVING 


a   flat  bottom  graver,  using  one  point  cutting  to  right 
and  the  other  cutting  to  the  left. 

The  styles  shown  on  this  plate  are  all  suitable  for  such 
pieces  of  silver  as  teaspoons,  forks,  and  all  small  silver 
novelties. 

The  hanging  figures  shown  at  Fig.  5  are  often  used 
on  the  back  of  spoons  and  forks  when  the  space  is  very 

narrow.  Initials  entwined 
in  same  style  could  be  used 
for  lettering  front  of  spoon 
where  space  is  narrow. 
Style  shown  at  Fig.  4  is 
used  for  same  purpose.  The 
other  styles  here  shown  are 
designed  to  show  a  few  of 
the  various  ways  script  let- 
ters can  be  used.  The  style 
for  us  to  select  depends 
largely  upon  shape  and  size 
of  space  to  be  lettered. 
Plate  47  will  give  some  idea 
of  lettering  spoons  or  forks,  showing  letter  or  letters 
selected,  made  in  style  appropriate  for  design  to  be 
engraved. 

It  is  one  of  the  important  duties  of  an  engraver  to 
select  styles  of  lettering  suitable  for  article  he  is  to 
engrave,  and  it  is  a  duty  upon  which  he  should  study 
and  deliberate  sufficiently  to  warrant  a  wise  decision, 
while  on  the  other  hand,  should  he  hastily  begin  the 
work,  not  considering  form,  style  or  quality  of  article  in 
hand,  he  would  probably  be  dissatisfied  with  the  appear- 
ance of  the  work  when  finished.  It  would  be  unwise 
to  engrave  cheap  work  on  fine  goods  or  vice  versa. 


Plate  47, 


CHAPTER  XXVII. 

The  figures  1898,  entwined  diagonally,  at  Fig.  n, 
Plate  45,  are  large  enough  and  suitable  in  style  of  cut- 
ting for  a  fine  silver  match  box  or  any  article  of  same 
size.  Parallel  line  filling  (the  filling  lines  running  par- 
allel with  the  formation  lines)  is  very  popular,  is  not 
easy  to  execute  accurately,  and  is  very  handsome  when 
done  neatly.  It  may  be  for  reasons  above  that  this 
style  of  cipher,  or,  as  generally  termed,  "  fine  line  script 
monogram "  work  is  used  by  our  best  jewelers  so 
extensively.  The  cipher  of  figures  at  Fig.  n  is 
engraved  as  referred  to  above,  except  the  work  here 
shown  is  broken  in  center  of  shade  of  each  bar  by  a 
leaf-like  ornament  protruding  to  the  right  and  left.  This 
style  of  cipher  can  be  engraved  cheaply  by  making 
less  lines  or  heavier.  If  engraved  bright  cut,  the  flat 
bottom  graver  is  used  in  cutting  the  shading  lines;  if 
engraved  on  polished  metal,  the  square  tool  only  is  used 
and  the  shading  is  executed  by  parallel  lines  cut  so 
closely  together  that  the  surface  between  each  is  entirely 
cut  out,  thus  effecting  a  shade. 

Ribbon  work,  a  style  that  has  been  used  very  exten- 
sively for  the  last  few  years  and  is  as  yet  in  great 
demand,  is  engraved  in  general  as  described  for  "  fine 
line  cipher  "  work.  In  short,  all  there  is  to  ribbon  work 
is  parallel  lines.  The  letters  should  be  made  after  the 
script  style,  not  discriminating  prominently  between  hair 
line  and  shade  portions  of  letters.  The  letters  are 
made  nearly  same  width  from  beginning  to  the  end  of 
the  general  form  of  the  letter,  the  hair  line  portions  act- 
ing only  as  connecting  lines,  or  showing  where  the  sup- 

M 


156  MODERN  LETTER  ENGRAVING 

posed  ribbon  has  turned,  and  edge  only  of  same  being 
visible.  The  illustrations  here  shown  are  not  specimens  of 
high  grade  work  in  this  style,  and  are  small,  but  will 
suffice  to  show  the  reader  how  the  work  is  executed. 
The  initials  Fig.  14  are  used  very  commonly  for  oblong 
trays  and  similar  pieces;  connecting  the  letters  as  we 
have  in  our  illustration  adds  to  the  effect  of  the  ribbon. 

Ribbon  work  is  engraved  in  many  styles  too  numer- 
ous to  mention  here.  One  very  effective  style  is  to 
twist  the  supposed  ribbon  in  center  of  shade  of  each 
bar  of  the  letters.  The  work  is  done  by  engraving  that 
portion  as  you  would  a  rope;  see  an  illustration  of  a 
rope  should  you  care  to  engrave  such  style.  I  will  say, 
however,  that  the  plain  ribbon  is  very  rich  and  would 
be  hard  to  improve.  The  work  shown  in  our  illustra- 
tion is  shaded,  same  being  done  as  described  for  style 
shown  at  Fig.  n.  All  ribbon  work  is  not  shaded,  it 
being  a  matter  left  to  the  discretion  of  the  engraver; 
some  do,  some  do  not;  generally,  I  think,  shading  adds  to 
the  appearance  of  the  letters.  » 

The  effect  of  ribbon  work  can  be  made  by  one  bright 
cut  on  satin  finish  silver,  using  the  flat  bottom  graver, 
cutting  a  heavy  bright  cut  width  of  the  bars  or  limbs  of 
the  letters.  The  design  of  the  letter  largely  produces 
the  effect,  and  here  is  where  we  should  spend  a  great  deal 
of  time  and  study.  After  you  once  get  the  correct  idea 
of  these  letters,  you  will  say  with  many  others,  "  they 
are  easy." 

Study  odd  forms  of  letters  and  avoid  following  the 
perfect  script  style,  but  use  the  general  form  of  same  in 
ribbon  lettering. 

Fine  line  script  or  ribbon  work  is  engraved  with  the 
square  graver.  Taking  line  of  beauty  of  the  letter  B, 


IN   THEORY   AND   PRACTICE. 


157 


Fig.  14,  for  illustration,  we  begin  at  the  end  of  the  said 
line,  or  where  the  heavy  line  turns  to  hair  line,  cross- 
ing line  of  beauty.  Note  Fig.  i ,  Plate  48.  We  begin 
at  A,  cutting  a  shade  cut  (or  several  cuts  to  make  shade, 
it  depending  upon  class  of  work  in  hand)  down  to  B, 
from  which  point  the  line  is  continued  a  hair  line,  the 
width  of  same  'depending  upon  size  of  letter  being 
engraved.  It  will  be  noticed  that  the  cut  from  A  to  B 
is  the  line  to  the  right  of  that  portion  of  the  letter,  while 
from  B  to  C  it  is  the  left  line.  The  work  is  continued 


Plate  48. 

by  going  back  to  A  and  cutting  all  other  lines  the  same 
as  first,  except,  of  course,  the  lines  after  first  one  from 
A\  to  B  are  not  shaded.  The  last  line  is  engraved 
around  to  B;  it  is  cut  heavier  from  that  point  to  C  to 
make  the  shade,  which,  if  the  work  in  hand  is  on  silver, 
and  being  engraved  bright  cut,  is  cut  with  flat  bottom 
tool  by  using  right  corner  of  cutting  edge  and  shading 
on  the  line  of  beauty. 

It  will  be  readily  understood  by  this  method  that  .\fter 
the  first  line  to  one  side  of  any  portion  of  a  letter  i*  cut 
all  we  have  to  do  is  to  cut  the  other  lines  parallel  vith 
it,  excepting  when  the  line  begins  at  a  point  on  hai)  line 


158          MODERN  LETTER  ENGRAVING 

and  ends  the  same,  in  which  case  the  lines  as  coming 
out  from  or  running  into  said  finer  lines,  must  neces- 
sarily be  engraved  closer  together  gradually.  In  other 
words,  the  work  is  carried  to  completion  by  cutting  one 
line  after  the  other,  always  cutting  to  the  right  of  line 
first  cut. 

One  important  point  favorable  for  effective  work  and 
in  fact  which  should  be  studied  with  care  and  followed 
accordingly,  is  that  the  end  of  no  line  should  be  visible. 

The  lines  should  begin  from  a  given  point  and  swell 
out  to  widen  the  letter  where  required,  and  then  run 
closer  together  where  letter  is  more  narrow,  and  should 
said  lines  be  carried  to  a  fine  line  they  should  all  run  in 
one  line,  the  end  of  no  one  line  being  noticeable.  Notice 
termination  of  lines  at  C,  Fig.  i.  Fine  line  script  work 
is  engraved  from  the  same  general  idea;  where  a  hair 
line  should  be  we  only  cut  one  line  and  where  the  shades 
are  several  are  engraved,  swelling  out  from  the  hair  line 
and  then  in  again,  thus  making  shade  of  fine  lines  run- 
ning very  close  together,  gracefully  swelling  out  from  a 
fine  line  and  in  same  manner.  Ribbon  letters  can  be 
formed  in  cipher  style  of  the  various  ideas  of  positions 
shown  on  Plate  45.  Ribbon  letters  should  never  be 
ornamented  by  ornate  cuts  as  on  the  other  ciphers 
shown  on  this  plate.  Fine  line  ciphers  are  often  orna- 
mented by  making  the  little  cuts  with  square  graver  as 
shown  at  Fig.  2,  Plate  45. 

There  is  another  style  of  fine  line  work  formed  simi- 
lar to  the  ribbon  style  and  is  engraved  in  the  same  man- 
ner. We  will  show  specimens  of  this  style  in  another 
chapter. 

Noting  Figs.  2  and  3,  Plate  48,  we  have  here  two 
designs  of  two  letter  ciphers  designed  for  a  space  when 


IN  THEORY  AND  PRACTICE. 


159 


the  same  is  smaller  at  top.  The  designs  are  so  far  from 
those  commonly  used  that  they  are  worthy  of  some 
study.  The  peculiar  manner  in  which  the  loop  at  the 
bottom  and  left  of  letter  D,  Fig.  2,  is  made  to  balance 
the  lower  portion  of  the  letter  E  on  opposite  side, 
brings  io  the  student  ideas  of  art  in  cipher  work  which 
he  should  study.  The  style  of  ornament  used  to  em- 
bellish these  letters  is  in  outline  or  reality  what  we 


Plate  4Q. 


endeavored  to  imitate  at  top  and  bottom  of  cipher  Fig. 
i,  Plate  45. 

The  manner  in  which  the  lower  end  of  the  line  of 
beauty  of  letter  R,  Fig.  3,  ends  to  harmonize  with,  and 
balance  lower  loop  of  same  letter  on  opposite  side  is  an 
idea  worthy  of  notice;  also  the  graceful  way  in  which 
the  lower  portion  of  the  letter  D  drops  down  to  har- 
monize with  top  of  letter  R.  These  few  ideas  show  to 
the  student  some  of  the  characteristics  of  script  mono- 
gram work,  and  as  previously  stated,  should  be  studied 
and  practiced  by  designing  over  and  over  again  any 
letters  you  may  select  to  entwine,  until  the  artistic  merits 
of  same  are  produced. 


l6o  MODERN  LETTER  ENGRAVING 

At  Plate  49,  we  show  a  style  of  cipher  that  is  gener- 
ally considered  a  very  neat  and  showy  style ;  it  is  a  style 
that  can  be  engraved  cheap  or  expensive.  As  here 
shown  it  is  supposed  to  be  cut  bright.  Letters  of  this 
size  call  into  use  the  flat  bottom  tool  for  engraving  the 
shades.  They  can  be  engraved  with  the  square  graver, 
but  the  flat  bottom  tool  is  better  for  work  of  this  size. 
The  ornate  cuts  connected  with  this  monogram  are  a 
little  out  of  the  regular  line  of  style  of  embellishments, 
but  they  are  easy  to  execute  and  present  a  favorable 
appearance  when  done  well.  At  Fig.  2  we  show  an 
enlarged  drawing  of  the  ornament  referred  to.  The 
cut  A  is  first  engraved  with  the  flat  tool  if  engraved 
large,  and  with  square  one  if  engraved  small.  The  cut 
B  is  next  engraved,  shading  over  toward  the  first  cut; 
the  finer  line  C  is  next  cut,  beginning  at  end  and  cutting 
around  to  cut  B.  The  dots  that  appear  scattered  around 
on  this  cipher  are  made  with  the  half  round  graver. 
Engravers  are  expected  to  engrave  letter  seals;  many 
good  engravers  do  not,  however,  for  reasons  I  have 
never  been  able  to  learn;  it  surely  is  easily  done  and  we 
should  be  able  to  do  it.  The  mode  of  proceedure  is  to 
coat  the  seal  with  wax  made  of  one  part  Burgundy 
pitch,  one  part  Canada  balsam,  and  two  parts  white  wax. 
These  parts  are  thoroughly  mixed  together,  put  into  a 
bottle,  perhaps  one  ounce  size  or  larger,  but  that  amount 
would  last  a  long  time. 

When  cool  the  wax  will  'be  hard,  and  could  only  be 
applied  to  seal  by  heating  latter.  As  that  would  take 
time  we  obviate  the  necessity  of  that  extra  work  by  dis- 
solving the  wax  by  pouring  a  tablespoonful  of  benzine 
on  the  wax,  which  will  gradually  work  its  way  down 
through  the  wax,  making  it  pliable  and  soft  enough  to 


IN    THEORY    AND    PRACTICE.  l6l 

be  applied  to  the  seal  by  taking  a  small  amount  from 
bottle  on  point  of  a  knife  and  coating  it  over  seal  with 
index  finger.  The  bottle  should  be  air  tight;  do  not 
leave  cork  out.  Should  the  amount  of  benzine  men- 
tioned be  inadequate  to  dissolve  wax,  add  more,  it  may 
require  several  days  to  do  its  work. 

We  now  place  the  seal  on  a  piece  of  paper,  and  with 
a  pencil  mark  around  it,  making  a  delineation  on  paper 
of  size  of  seal;  the  desired  letter  or  monogram  is  now 
sketched  with  a  pencil  on  the  paper  within  the  delinea- 
tion made.  With  a  pair  of  scissors  we  cut  around  the 
line  outside  cipher  or  letter  which  line  is  same  size  as 
seal.  Now  we  lay  this  piece  of  paper  on  the  seal  and 
burnish  it  carefully  all  over,  then  with  the  point  of  a 
knife  peel  the  paper  off,  leaving  a  very  plain  impression 
of  the  drawing  on  the  seal.  Now  scratch  the  design  on 
very  accurately  with  steel  pointed  marker,  after  which 
remove  the  wax  with  alcohol,  leaving  a  reverse  design 
of  sketch  on  seal.  You  are  now  ready  to  do  the 
engraving,  which  should  be  done  heavy  and  deep.  A 
little  practice  is  all  that  is  required  to  engrave  silver 
seals  (such  as  are  sold  by  jewelers). 


CHAPTER  XXVIII. 


Our  pen  sketch  etching  of  the  letters  ESC  shown 
at  Fig.  i,  Plate  50,  is  a  style  of  cipher  or  script  mono- 
gram work  that  contains  many  elements  of  art  when 
well  executed.  In  this  work  the  engraver  brings  the 
letters  out  with  only  the  square  graver  on  a  flat  surface 


Plate  so. 

with  a  prominence  due  each  one,  with  leaves  and  por- 
tions of  them  laying  on  and  protruding  from  the  various 
curves  and  limbs  of  the  letters.  The  fact  of  this  work 
all  being  done  with  one  graver,  making  only  lines  and 
producing  the  effect  of  bas-relief  work  by  such  lines 
requires  some  artistic  skill.  This  class  of  script  mono- 
gram work  is  very  commonly  used  by  our  best  en- 

168 


IN    THEORY    AND    PRACTICE.  163 

gravers.  In  executing  this  work  the  design  is  h'rst 
roughly  sketched  as  a  plain  cipher.  It  is  now  touched 
up  (corrected)  until  the  design  is  as  near  perfect  as  we 
are  able  to  make  it.  When  first  sketching  the  outlines 
we  gnre  the  letters  Ta  very  little  more  freedom  than 
would  be  allowed  were  the  letters  not  to  be  embellished, 
thus  leaving  ample  room  or  space  for  the  leaves  and 
ornate  portions  to  be  added. 

After  having  perfected  the  design  in  outline,  we  next 
design  the  leaves  on  in  their  respective  locations;  of 
course,  we  design  right  over  that  portion  of  the  letter 
directly  underneath  the  leaves,  but  as  the  first  designing 
is  done  very  lightly,  it  is  an  easy  matter  to  make  the 
leaves  and  portions  of  same  prominent  by  making  the 
second  designing  a  very  little  heavier;  then,  too,  the 
fact  of  the  leaf  ornament  slightly  curving  as  the  end  is 
reached,  permits  the  lines  of  design  to  cross  those  first 
made,  another  point  allowing  prominence  to  leaf  sketch. 

Such  ornate  portions  as  shown  at  A  and  C  are  not 
designed  at  this  time;  they  are  not  considered  until  the 
letters  are  all  engraved,  after  which  such  cuts  as  above 
mentioned  are  designed  and  engraved.  An  engraver  of 
experience  does  not  design  such  embellishments;  he  fills 
them  in  by  his  eye,  cutting  them  wherever  his  artistic 
ability  dictates. 

Having  designed  the  leaves  on  —  it  is  to  be  under- 
stood that  in  designing  the  leaves  only  the  outlines  are 
made,  the  fine  line  work  between  the  delineations  is 
all  engraved,  using  only  the  eye  for  guide  —  we  now, 
providing  the  monogram  is  to  be  a  fine  one,  carefully 
go  all  over  the  outlines  of  the  completed  designed 
letters  with  a  steel  pointed  marker  (reference  to  which 
has  been  made  before,  and  described)  cautiously  and 


164  MODERN  LETTER  ENGRAVING 

lightly  scratching  such  lines  as  are  to  be  engraved. 
Having  completed  this  work,  the  wax  through  which 
the  original  design  was  made  is  wiped  off,  leaving  a 
perfectly  (should  be  practically  perfect)  outlined  design. 

I  have  said  in  a  previous  chapter  that  designs  should 
not  be  scratched  on  metal  for  engraving,  but  I  excepted 
work  of  this  kind.  The  cipher  here  being  considered  is 
one  of  such  size  and  style  that  would  justify  one  in  fol- 
lowing the  method  described  above.  Should  we  design 
the  letters  to  be  engraved  cheaply,  we  probably  would 
not  take  time  to  scratch  it  on,  but  for  fine  work  by  so 
doing  we  surely  have  a  clearer  surface  to  work  on,  and 
perhaps  a  more  perfect  design. 

If  we  were  engraving  this  cipher  or  flower  leaf  mono- 
gram on  satin  finish  silver,  the  dots  shown  prominently 
in  our  illustration  would  be  made  with  a  half  round 
graver  and  the  shading  at  end  of  leaves  would  be  done 
with  flat  bottom  graver.  The  lines  in  this  illustration 
appear  broken,  the  etching  being  made  from  a  pen 
sketch;  but  the  lines  should  not  be  broken,  as  will  be 
shown  by  other  illustrations  made  from  an  engraving. 
The  lines  should  run  from  a  given  point  or  portion  of 
the  letters  to  another,  spreading  out  and  running  in 
closer  together  as  the  case  may  be,  and  by  such  accuracy 
only  is  the  effect  obtained. 

The  reader  will  note  the  peculiar  manner  in  which 
these  letters  are  interwoven,  especially  the  letter  S,  the 
angle  of  which  is  changed  decidedly  from  that  of  the  E 
and  C;  it  will  also  be  noticed  that  by  "throwing"  the 
S  in,  or  weaving  it  in  with  the  other  letters  in  this  way, 
that  the  letters  are  all  tied  together  in  such  manner  as 
to  allow  perfect  freedom  and  gain  harmony  throughout; 
the  result  of.  which  is  a  monogram  of  artistic  elements, 


IN   THEORY    AND    PRACTICE.  1 6$ 

producing  in  general  a  beautiful  effect.  The  student 
will  also  please  note  the  continuation  of  the  lower  loop 
of  the  letter  C,  how  we  have  "  thrown  "  it  back  to  the 
left,  "  hooking  "  or  looping  it  in  the  letter  E.  An  extra 
or  continued  loop  of  this  description  is  often  used  to 
advantage,  but  caution  should  be  exercised  as  to  their 
use,  only  using  them  when  needed  for  such  purposes,  as 
we  have  in  this  case. 

Engraving  on  aluminum  is  very  common,  so  many 
articles  having  been  made  of  this  metal  the  past  few 
years.  Those  who  have  attempted  to  cut  aluminum 
with  no  knowledge  of  it  will  appreciate  the  fact  of  it 
being  quite  difficult  to  engrave  on.  Those  pieces  of 
toilet  ware  that  are  engraved  in  the  factory  are  cut  as 
bright  as  engraving  could  be  on  satin  finished  silver. 
The  gray  finish  usually  put  on  aluminum  articles  pro- 
duces a  most  attractive  appearance  when  engraved 
bright  cut.  The  only  secret  connected  with  this  work 
is  that  the  highly  polished  graver  is  dipped  in  a  liquid 
made  as  follows:  Oil  of  turpentine  4  parts,  stearine  i  part, 
and  i  part  rum.  This  liquid  is  put  in  a  bottle  with  a 
large  neck  to  enable  dipping  the  graver  in  it,  and  should 
be  corked  tight  when  not  being  used.  If  we  were 
engraving  a  large  monogram,  the  surface  of  the  metal 
could  be  smeared  with  the  liquid.  Another  method 
employed  by  the  writer  is  to  put  a  little  cotton  in  a  small 
tin  box,  then  put  a  few  drops  of  the  liquid  on  the  cotton. 
The  object  of  this  is  that  dipping  the  graver  in  on  the  cot- 
ton in  a  shallow  tin  box,  as  mentioned,  is  easier  than  the 
bottle,  and  the  cotton  merely  being  dampened,  we  do  not 
get  a  superfluous  amount  of  the  liquid  on  the  graver  point. 
The  formula  mentioned  is  also  very  useful  for  engrav- 
ing very  hard  metals,  such  as  plated  spoons  and  forks. 


1 66  MODERN  LETTER  ENGRAVING 

Engravers  are  often  asked  to  do  etching,  especially  in 
bowls  of  spoons.  To  do  such  work  we  paint  the  letters 
in  the  bowl  with  a  very  fine  camel's  hair  brush,  using 
asphaltum  varnish.  Now  paint  the  spoon  bowl  where 
the  acid  is  not  wanted  to  act.  Usually  a  border  irregu- 
larly designed  about  a  quarter  of  an  inch  inside  the 
edge  of  the  bowl  is  used.  It  is  a  good  plan  to  paint  the 
back  of  the  bowl  to  avoid  danger  of  any  acid  touching 
it,  then  too,  when  this  is  done,  the  entire  bowl  can  be 
dipped  in  the  acid;  in  the  other  case  the  acid  is  only  put 
in  the  bowl.  The  acid  should  be  kept  in  a  bottle  with  a 
glass  stopper.  The  etching  acid  is  made  as  follows: 
Four  parts  of  water  to  one  part  of  nitric  acid.  If  more 
acid  than  this  is  added  the  resist  coating  of  varnish 
would  be  liable  to  slough  off.  Heating  will  menace  the 
rapidity  of  the  action  of  the  acid;  but  much  heat  will 
also  cause  the  resist  varnish  to  slough. 

Should  we  have  a  gold  plated  bowl  to  etch,  we  would 
have  to  use  a  mixture  of  three  parts  of  muriatic  and  one 
part  nitric  acid,  diluted  with  five  parts  water  to  remove 
the  gold,  after  which  the  acid  mentioned  above  is  used 
for  etching  deeper  down  in  the  silver.  After  the  acid 
has  eaten  in  deep  enough  the  varnish  is  removed  by 
turpentine.  The  letters  will  be  in  relief,  and  the  part  of 
the  bowl  that  came  in  contact  with  the  acid  will  appear 
gray,  thus  making  the  letters  very  prominent. 

At  Fig.  2,  we  illustrate  a  figure  monogram  1897 
This  style  of  monogram  is  engraved  so  much  like  the 
cipher  mentioned  in  this  chapter,  that  it  is  not  necessary 
to  direct  the  student  further.  The  figures  are  first 
designed  plain,  as  with  the  cipher  above  referred  to,  then 
the  leaf-like  ornaments  are  designed.  The  filling  in  the 
center  of  the  shades  of  the  figures  can  be  made  in  var 


IN    THEORY    AND    PRACTICE.  167 

ious  ways;  the  one  here  shown  produces  the  best  effect 
with  the  least  work.  A  rubber  stamp  liner  can  be  made 
for  fifty  or  sixty  cents  that  will  stamp  thirty  or  forty 
lines  to  the  inch  on  the  monogram,  thus  enabling  the 
student  to  engrave  all  the  lines  parallel  and  horizontal. 
A  line  stamp  of  this  kind  is  very  useful  in  block  mono- 
gram work.  They  are  easily  made  by  any  rubber 
stamp  maker  or  wood  engraver.  It  is  first  necessary 
to  make  a  wood  cut  from  which  to  make  the  stamp. 

At  Fig.  3  we  illustrate  a  rustic  monogram.  The 
monogram  is  engraved  complete  with  the  square  graver, 
it  requiring  only  hair  lines  to  produce  the  effect  here 
shown.  This  work  can  be  executed  in  a  cheaper  way 
by  wriggling  with  a  fine  liner  along  the  edge  of  the 
letters  instead  of  the  parallel  and  cross  lines. 


CHAPTER  XXIX. 

Fancy  block  monograms  are  not  as  commonly  used 
now  as  they  were  a  few  years  ago,  but  we  should  know 
how  to  engrave  them,  and  how  to  go  about  it  in  a  man- 
ner becoming  a  workman.  The  circle,  perpendicular 
and  horizontal  lines  illustrated  in  Chapter  24,  to  be 
used  as  guides  in  forming  «an  inscription,  is  the 
method  employed  to  assure  an  accurate  block  mono- 
gram design.  We  here  have  the  center  of  the  circle 
which  would  be  the  center  of  a  watch  case,  if  we 
are  engraving  the  monogram  on  a  case,  we  have 
the  perpendicular  line  as  a  guide  to  follow  for  making 
the  letters  perpendicular,  the  horizontal  line  to  assure 
the  portions  of  letters  formed  horizontally  to  be  at 
right  angles  with  the  perpendicular  bars.  Then  we 
have  the  circle  through  to  which  each  letter  should  run, 
if  it  can  be  made  to  do  so  effectively,  as  shown  in  our 
illustration  of  H  S  B  in  center  of  Plate  51.  Of  course 
all  fancy  block  monograms  are  not  made  as  "  stiff  "  as 
this  one,  but  the  guide  lines  mentioned  are  useful  in  any 
case.  The  filling  for  block  monograms  is  a  valuable 
consideration.  Space  will  not  permit  ow  illustrating 
many.  We  have  here  shown  the  bead  work,  parallel 
and  cross  lines,  which  with  dots  made  with  a  half  round 
graver  are  the  most  common  filling  used,  the  reason  for 
which  is  probably  due  to  their  being  the  most  effective. 
There  are  many  fillings  finer  and  much  harder  to  exe- 
cute than  the  bead  work,  but  as  it  is  difficult  to  illustrate 
such  work  by  black  on  white  (press  printing)  we  will 
pass  others.  To  execute  the  monogram  as  here  illus- 
trated  (H  S  B)  we  first  design  it  in  outline,  first  sketch- 

168 


IN   THEORY   AND   PRACTICE. 


169 


ing  the  prominent  or  last  letter.  Next  we  consider  the 
other  two,  usually  making  the  first  letter,  after  which 
the  middle  letter  is  woven  in  with  the  other  two.  There 
are  many  good  letter  engravers  that  are  not  good  mono- 
gram engravers.  There  is  a  broad  scope  for  study  and 
development  in  this  class  of  work.  After  having  per- 


fected  the  design  by  sketching  it  quite  plain,  we  add  the 
little  ornaments  such  as  protrude  from  the  letter  S. 
The  sketch  would  now  appear  as  shown  at  Fig.  I, 
Plate  52.  I  assume  that  it  is  unnecessary  for  me  to  state 
that  the  filling  and  small  fine  ornaments  are  not  de- 
signed. All  the  .designing  we  do  is  to  make  the  outlines 
of  the  letters. 


I7O  MODERN  LETTER  ENGRAVING 

Assuming  we  are  to  engrave  this  monogram  on  a  pol- 
ished gold  watch  case,  we  could  engrave  the  monogram 
complete  with  a  square  graver,  and  would  not  need  any 
other  unless  it  were  a  flat  bottom  graver,  to  cut  the 
little  notches  partially  between  the  beads  on  the  letter  B. 
Having  completed  the  design  as  above  described,  we 
can  now  engrave  it^r  we  may  carefully  scratch  the 
perfected  sketch  on  the  case  with.our  steel  .point,  then 
wipe  the  wax  (transfer  wax,  which  is  used  to  design 
through  on  polished  metal)  off,  leaving  a  very  clear  and 
accurate  outline  on  the  clear  surface  of  the  metal.  We 
now  engrave  thxe  outlines  of  all  the  letters,  allowing 
space  for  shades,  after  which  we  begin  with  the  letter  B 
and  shade  it.  The  shading  on  this  letter  was  executed 
in  our  plate  engraving  of  same  by  cross  lines  cut  on  an 
angle  of  45  degrees  from  left  dqwn  to  right,  beginning 
inside  the  outline  first  cut,  just  the  width  of  shade*  we  de- 
sire to  cut,  and  cut  down  and  into  the  outline  mentioned. 
We  begin  these  lines  very  fine  and  cut  deeper  as  the 
graver  is  pushed  forward  into  the  outline.  It  will  be 
understood,  therefore,  that  these  little  cuts,  which  are  to 
be  made  as  close  together  as  is  possible  (or  practicable) 
are  dove-tail  shape,  they  being  very  close  together,  of 
this  shape,  and  beginning  on  the  metal's  surface,  and 
going  deeper  and  deeper  until  they  run  into  the  outline 
first  cut,  forming  the  letter.  It  is  plainly  to  be  seen  that 
such  shading  will  give  to  the  letter  an  appearance  of 
relief,  and  I  think  it  is  safe  to  say  that  this  is  one  of  the 
most  effective  and  finest  styles  of  shading.  I  regret  our 
etching  does  not  show  the  work  as  above  described,  but 
I  trust  from  the  description  above  that  the  reader  will 
well  understand  how  the  work  should  appear.  Fig.  2 
illustrates  the  monogram  as  it  would  appear  after  the  B 


IN    THEORY    AND    PRACTICE. 


171 


and  H  were  shaded.  After  cutting  the  shading  on  this 
letter,  we  cut  a  fine  line  along  the  beginning  of  the  lines 
constituting  said  shading.  This  done,  we  engrave 
another  fine  line  inside  this  one.  The  distance  that  these 
lines  are  cut  apart  will  be  understood  by  referring  to  the 
letter  3  in  the  center  of  Plate  51.  The  width  as  here 
shown  is  the  width  of  the  white  line  just  inside  shade  of 
said  letter.  Now  we  cut  a  similar  line  inside  the  line 
first  cut  on  the  other  side  of  the  bar  of  the  letter,  they 
being  same  distance  apart,  as  the  ones  on  the  other  side. 


We  are  now  ready  to  cut  the  filling,  which  in  this  case 
being  beads,  we  first  engrave  the  outline  of  the  little 
beads  by  cutting  a  small  circle,  just  filling  up  the  space 
between  the  inner  hair  lines.  After  we  have  gone  all 
over  the  letter  and  engraved  these  little  circles,  we  take 
the  flat  bottom  tool  and  notch  out  between  the  beads, 
cutting  both  ways  when  necessary.  The  square  graver 
could  be  used  for  this  purpose,  but  the  flat  tool  could  be 
used  more  expeditiously.  The  notching  out  completed, 
the  fine  lines  as  shown  inside  the  circle  are  cut,  the  same 
acting  as  shade  lines  producing  the  effect  of  beads.  The 
letter  H  is  shaded  by  cutting  parallel  line  with  square 


graver,  the  same  being  engraved  so  close  together  that 
the  metal's  surface  is  entirely  cut  out.  The  fine  lines, 
as  shown  in  our  illustration,  are  next  cut,  after  which  the 
parallel  cross  lines  are  engraved.  The  rubber  stamp 
mentioned  in  the  previous  chapter  can  be  used  to  aid  the 
untrained  eye  to  make  these  lines  accurately.  The  let- 
ter S  is  shaded  same  as  the  letter  H.  Fig.  3  illustrates 
the  appearance  of  the  monogram  cut  in  outline  and 
shaded.  The  fine  lines  running  along  edge  of  the 
letter  are  cut  next,  completing  the  letter.  A  few  fine 
lines  are  cut  on  each  bar  of  the  letters  that  go  under 
another  letter.  This  done,  the  little  curves  of  fine  lines 
in  and  around  each  of  the  letters  are  engraved,  the 
number,  style  and  location  of  same  being  a  matter  of 
discretion  on  the  part  of  the  engraver.  The  monogram 
is  now  complete  and  ready,  for*  polishing. 

The  monograms  shown  around  the  monogram  we 
have  above  considered  are  some  of  the  styles  mostly 
used,  all  of  which  we  have  described. 

Should  we  have  occasion  to  engrave  the  monogram 
H  S  B  bright  cut  the  fine  line  shading  we  have  men- 
tioned would  be  exchanged  for  bright  cut  shade  method 
of  cutting,  same  having  been  described  in  former  chap- 
ters. Block  monograms  are  often  engraved  oblong  in 
lieu  of  round  and  square,  and  when  so  engraved  we 
make  our  design  by  the  aid  of  guide  lines  mentioned, 
but  sketch  an  oblong  loop  for  guide  in  lieu  of  circle  in 
case  of  round  monogram. 

The  monogram  student  can  learn  a  great  deal  by 
studying  specimens  of  monogram  work  that  may  come 
to  his  notice,  and  when  ever  he  can  he  should  get  an 
impression  of  good  specimens  by  taking  an  impression 
with  ink.  Printers  ink  rubbed  in  the  incisions,  wiping 


the  surface  off  clean  with  palm  of  the  hand  or  a  piece 
of  cloth  will  make  a  good  impression  by  the  same 
method  we  have  described  for  taking  an  impression 
from  one  spoon  to  others.  The  ink  impression  can  be 
printed  on  a  piece  of  paper,  the  first  impression  would 
be  the  reverse  of  the  original,  but  an  impression  from 
the  impression  on  another  piece  of  paper  will  print  the 
monogram  correctly. 


CHAPTER  .XXX. 

Figs,  i  and  2,  Plate  53,  etchings  made  from  a  steel 
plate  engraving,  illustrate  two  styles  of  flower  leaf 
monograms.  Fig.  i  we  consider  one  of  the  most  elab- 
orate styles  of  cipher  or  monogram  work.  Our  etching 
does  not  show  the  culmination  of  art  that  is  manifest  in 
the  original  engraving,  but  demonstrates  the  artistic 


Plate  53. 

elements  of  the  original,  and  we  will  ask  the  reader 
to  consider  those  portions  of  the  letters  that  are 
black,  fine  lines,  all  of  which  are  engraved  so  fine 
that  in  making  an  etching  it  is  impossible  to  repro- 
duce them  so  as  to  print  separately.  This  mono- 
gram was  engraved  with  the  square  tool  and  is  builded 
entire  by  fine  line  work,  even  the  cutting  out  around 
the  bead  work,  in  lieu  of  flat  bottom  tool  as  previously 
described  for  that  work  the  square  graver  is  used  cut- 
ting several  lines  dove  tail  shape,  beginning  at  point 

174 


IN    THEORY    AND    PRACTICE.  1 75 

where  the  beads  join  and  cut  out  to  the  inner  line  of 
the  bar.  The  appearance  of  cuts  thus  executed  having 
been  elucidated  in- a  former  chapter,  the  reader  will  by 
calling  his  powers  of  comprehension  into  activity  note 
the  fact  that  lines  engraved  in  this  manner  would  be 
conducive  of  relief  work  and  in  accrument  with  the 
raised  appearance  of  beads  culminate  ideas  of  that 
which  is  possible  in  line  engraving.  The  apparent 
protuberance  of  the  bead  work  would  indicate  an 
impossibility  of  so  arranging  the  leaf  embellishments 
above  and  below  said  bead  work  so  as  to  throw  the 
prominence  of  same  back,  yet  it  is  true,  and  while  our 
etching  does  not  show  the  bead  embellishment  embossed 
as  the  engraving  of  the  same  on  metal  would  make  it 
appear  to  be,  yet  the  reader  will  comprehend  from 
explanation,  that  the  same  is  true  and  will  note  the  pro- 
tuberance of  the  central  leaf  work  over  the  bead  em- 
bellishment. For  these  reasons  of  optical  illusions  so 
prominent,  and  at  same  time  the  letters  and  every  por- 
tion of  them  being  even  with  the  metal  surface,  the 
work  being  executed  with  lines  only,  and  maintaining 
that  harmony  consistent  with  a  very  readable  mono- 
gram, prompt  us  to  say  that  in  such  work,  in  our  hum- 
ble opinion,  we  can  produce  one  of  the  most  beautiful 
monograms,  and  for  this  reason  we  close  these  chapters 
of  "Modern  Letter  Engraving"  with  this  class  of  work. 
In  one  of  the  early  chapters  we  illustrated  one  of  the 
modern  engraving  blocks.  The  well  known  "  Lan- 
caster "  engraving  block  being  similar,  we  deem  it 
unnecessary  to  illustrate  it.  The  Lancaster  is  one  of 
the  best  blocks  made;  the  writer  has  used  one  for  a 
number  of  years  and  takes  pleasure  in  speaking  of  its 
merits. 


176  MODERN  LETTER  ENGRAVING 

Fig.  2  illustrates  a  style  of  leaf  embellished  monogram 
much  plainer  than  Fig.  i,  with  much  less  work.  Yet  it 
is  formed  after  the  style  of  Fig.  i  and  is  appropriate 
for  engraving  expensive  pieces  of  silver,  and  would 
please  some  customers  more  than  Fig.  i. 

Monograms  of  this  style  require  some  study  and 
practice  of  technical  application  of  fine  lines,  and  a 
student  aspiring  to  master  the  art  should  remember  that 
our  best  engravers  have  accomplished  their  skill  by 
hard  and  studious  work.  Many  skilled  engravers  have 
studied  many  other  branches  of  technical  and  chemical 
work  in  order  to  excel,  and  any  young  man  that  devotes 
sufficient  time  and  study  to  master  the  art  of  engraving 
will  find  that  his  services  are  in  demand  and  will  be  well 
paid  for.  This  day  and  age  we  are  required  to  meet  the 
strongest  competition  and  are  expected  to  execute  work 
of  the  highest  grade,  our  customers  having  been  edu- 
cated so  thoroughly  in  wo^k  of  art  that  engraving  of 
today  must  be  executed  dexterously. 


ENGRAVING  PAD. — Will  you  please  publish  a  few  formulae  for 
making  a  paste  or  pad  with  which  I  can  transfer  engraving 
accurately?  I  have  been  using  a  regular  pad  also  a  trans- 
feroyd  paste  with  good  results,  but  would  like  to  make  some 
myself.  In  doing  the  work  I  use  Chinese  white  and  printers' 
ink. 

Buy  some  printers'-roll  gelatine  from  a  newspaper  office. 
Put  some  water  into  a  kettle,  bring  to  a  boil  and  set  in  it  a 
can  containing  the  lumps  of  gelatine.  When  the  latter  is 
melted,  pour  it  into  a  tin  box  which  will  mould  it  into  a  slab  of 
size  about  3  by  6  inches  or  a  little  smaller,  and  J^-inch  thick. 
After  the  gelatine  has  cooled,  the  transfer  pad  may  be 
taken  out  of  the  box  and  is  ready  for  use. 

Take  the  engraving  which  is  to  be  copied,  rub  powdered 
whiting  into  the  cuts  and  wipe  off  the  surplus;  press  the  engrav- 
ing down  on  the  transfer  pad,  then  remove  it  and  on  the  pad 
will  be  left  the  form  of  the  engraving,  where  the  whiting  was 
deposited  from  the  engraving.  Take  the  piece  which  is  to  be 
engraved,  dab  on  it  a  film  of  tallow,  and  press  it  down  on  the 
transfer  pad,  over  the  whiting  design.  This  will  imprint  the 
design  on  the  piece,  and  several  impressions  can  be  made  from 
each  whiting  transfer. 

This  is  the  method  which  we  suggest  as  probably  the  easiest 
and  simplest. 


< 

Recipes  foi  Repai. 

of  Celluloid  Work 

CELLULOID  CEMENTS.— I.— To  mend  broken 
draughting  triangles  and  other  celluloid  articles,  • 
use  three  parts  alcohol  and  four  parts  ether  mixed  I 
together  and  applied  to  the  fracture  with  a  brush  1 
until  the  edges  become  warm.  The  edges  are  then  I 
stuck  together,  and  left  to  dry  for  at  least  twenty- • 
four  hours. 

II. — Camphor,  one  part;  alcohol,  four  parts.  | 
Dissolve  and  add  equal  quantity  (by  weight)  of  J 
shellac  to  this  solution. 

III. — If  firmness  is  desired  in  putting  celluloid  I 
on  wood,  tin,  etc.,  the  following  gluing  agent  is  jt 
recommended,  viz.:  A  compound  of  two  parts  f 
shellac,  three  parts  spirit  of  camphor,  and  four  j 
p*brts  strong  alcohol. 

IV. — Shellac. 2  ounces 

Spirits  of  camphor 2  ounces 

Alcohol,  90  per  cent 6  to  8  ounces   f 

V. — Make  a  moderately  strong  glue  or  solution  f. 
of  gelatin.  In  a  dark  place  or  a  dark  room  mix  i. 
with  the  above  a  small  amount  of  concentrated  I 
solution  of  potassium  dichromate.  Coat  the  back  I 
of  the  label,  which  must  be  clean,  with  a  thin  layer  I 
of  the  mixture.  Strongly  press  the  label  against  ^ 
the  bottle  and  keep  the  two  in  close  contact  by  fc 
tieing  with  twine  or  otherwise.  Expose  to  sun-  r 
light  for  some  hours;  this  causes  the  cement  to  be  I 
insoluble  even  in  hot  water. 

VI. — Lime . . . .  av.  oz.  1 

White  of  egg ? av.  oz.  2^ 

Plaster  of  Paris av.  oz.  5  Y^ 

Water fl.    oz.  1 

Reduce  the  lime  to  a  fine  powder;  mix  it  with 
the  white  of  egg  by  trituration,  forming  a  uniform 
paste.     Dilute  with  water,  rapidly  incorporate  the 
plaster  of  Paris,  and  use  the  cement  immediately.  £ 
The  surfaces  to  be  cemented  must  first  be  moist-  i, 
ened  with  water  so  that  the  cement  will  readily  k 
adhere.     The  pieces  must  be  firmly  pressed  to-  P 
gether  and  kept  in  this  position  for  about  twelve 
hours. 

CEMENTING    CELLULOID    AND    HARD-RUBBER  f 
ARTICLES. — I. — Celluloid  articles  can  be  mended  , 
by  making  a  mixture  composed  of  three  parts  of  ', 
alcohol  and  four  parts  of  ether.    This  mixture  " 
should  be  kept  in  a  well-corked  bottle,  and  when 
celluloid  articles  are  to  be  mended,  the  broken 
surfaces  are  painted  over  with  the  alcohol  and  p 
ether  mixture  until  the  surfaces  soften:  then  press  ! 
together  and  bind  and  allow  to  dry  for  at  least  a 
twenty-four  hours. 

II. — Dissolve  one  part  of  gum  camphor  in  four  i 
parts  of  alcohol;  dissolve  an  equal  weight  of  shellac  [ 
in  such  strong  camphor  solution.    The  cement  p 
is  applied  warm  and  the  parts  united  must  not  I 
be  disturbed  until  the  cement  is  hard.    Hard-  p 
rubber  articles  are  never  mended  to  form  a  strong 
joint. 

III. — Melt  together  equal  parts  of  gutta  percha  y 


ive-Finish  Gun  Metal 

Remove  the  old  finish  by  boiling  in  a  solution  of  nine  parts 
water  and  one  part  sulphuric  acid.  Be  sure  and  remove  all 
pearls  or  stone  settings  before  doing  this.  Prepare  for  the 
gun-metal  dip  by  scratch-brushing  with  fine  pumice  and  water ; 
rinse  in  hot  water,  and  string  the  article  on  a  copper  wire, 
then  hang  into  a  solution  of  12  dwts,  acetate  of  lead,  in  a 
porcelain  dish,  and  12  dwts.  of  hydrosuiphite  of  soda.  Each 
of  these  ingredients  must  have  been  previously  dissolved  in  a 
half  pint  of  water,  then  poured  together  and  warmed.  Bring 
this  to  a  boil,  remove  the  work  once  or  twice,  scratch  brush- 
ing each  time.  When  the  piece  reaches  a  bluish  appearance 
wipe  dry  and  hold  over  an  alcohol  lamp  to  dry  out.  Keep 
the  article  with  a  cloth  which  is  moistened  with  boiled  linseed 
oil.  Wipe,  or  brush  off,  until  nearly  dry,  then  place  in  a 
heated  oven  until  a  velvety  black  appears.  Let  cool,,  place  for 
a  little  while  in  linseed  oil,  remove  and  wipe  off. 


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• 


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